Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Montenegro and from Woodstock.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1963 to 1972.
I'm losing my edge.
To all the kids in Tehran and Hong Kong.
I'm losing my edge to the art-school Johannesburg kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1979 at the first Second Layer practice in a loft in South London.
I was working on the sitar sounds with much patience.
I was there when Tom Verlaine started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing One Last Wish to the dance kids.
I played it at Cafe Wha.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Peter & Gordon. All the underground hits.
All Yellowson tracks. I heard you have a vinyl of every The Sound record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Ice-T record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Music Machine,
Pere Ubu,
Jawbox,
Tropical Tobacco,
Whodini,
The Five Americans,
The Birthday Party,
Lou Reed & John Cale,
Procol Harum,
Masters at Work,
The Modern Lovers,
Minor Threat,
Ultra Naté,
Janne Schatter,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Kaleidoscope,
Essential Logic,
Goldenarms,
X-102,
Simply Red,
Gang Starr,
T.S.O.L.,
Manfred Mann's Earth Band,
The Doobie Brothers,
Shoche,
Gil Scott-Heron & Brian Jackson,
Robert Görl,
Main Source,
Index,
Depeche Mode,
Deutsch Amerikanische Freundschaft,
Danielle Patucci,
Crispy Ambulance,
Gang Gang Dance,
Fifty Foot Hose,
Lucky Dragons,
Kool G Rap & DJ Polo,
Soulsonic Force,
Franke,
Johnny Osbourne,
The Litter,
Public Image Ltd.,
Althea and Donna,
Wasted Youth,
Eyeless In Gaza,
Crime,
The Gories,
De La Soul & Jungle Brothers,
The Neon Judgement,
ABBA,
Pulsallama,
The Men They Couldn't Hang,
Harpers Bizarre,
Pharoah Sanders,
Vladislav Delay,
Barrington Levy,
Loose Ends,
Jesper Dahlbäck,
Yazoo,
Slave,
Infiniti,
Joey Negro,
Angry Samoans,
X-Ray Spex,
Vainqueur, Vainqueur, Vainqueur, Vainqueur.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.