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 Japan and from Tokyo.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1961 to 1977.
I'm losing my edge.
To all the kids in Woodstock and London.
I'm losing my edge to the art-school Mexico City 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the chamberlin sounds with much patience.
I was there when David Bowie 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 Porter Ricks to the punk kids.
I played it at the 40 Watt.
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 Interpol. All the underground hits.
All The Divine Comedy tracks. I heard you have a vinyl of every D'Angelo record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an organ and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Lucky Dragons 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 United States of America,
Underground Resistance,
Roxy Music,
The Young Rascals,
Beasts of Bourbon,
Drive Like Jehu,
Rakim,
ABC,
The Star Department,
The Electric Prunes,
Monolake,
Gang Green,
The Trojans,
The Velvet Underground,
Skaos,
Cameo,
Yaz,
Pere Ubu,
Gabor Szabo,
ABBA,
The Mighty Diamonds,
Andrew Hill,
Goldenarms,
Eric Dolphy,
Hot Snakes,
Roy Ayers Ubiquity,
Roger Hodgson,
Jeff Mills,
E-Dancer,
The Leaves,
Rahsaan Roland Kirk,
Kenny Larkin,
Prince Buster,
Darondo,
Warsaw,
Avey Tare & Kría Brekkan,
Richard Hell and the Voidoids,
The Dead C,
Urselle,
Make Up,
The Sound,
Y Pants,
Dead Boys,
The Cramps,
Fort Wilson Riot,
FM Einheit,
Faust,
The Toasters,
Stetsasonic,
Erykah Badu,
Arthur Verocai,
EPMD,
Crispian St. Peters,
Dave Gahan,
John Coltrane,
Kauko Röyhkä ja Narttu,
The Offenders,
The Vogues,
Delon & Dalcan,
The Alarm Clocks,
Mandrill,
The J.B.'s,
Wire,
Quadrant, Quadrant, Quadrant, Quadrant.
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.