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 Bulgaria and from Columbus.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Jakarta and Glasgow.
I'm losing my edge to the art-school Tokyo 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 1984 at the first Arcadia practice in a loft in London.
I was working on the oboe 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 E-Dancer to the crunk kids.
I played it at the Astoria.
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 Roy Ayers. All the underground hits.
All The Cramps tracks. I heard you have a vinyl of every Public Image Ltd. record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends 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?
Rotary Connection,
Tim Buckley,
The Associates,
The Count Five,
L. Decosne,
Bad Manners,
Half Japanese,
The Grass Roots,
Absolute Body Control,
Cheater Slicks,
Magma,
The Moleskins,
Barbara Tucker,
Pantaleimon,
the Fania All-Stars,
The Last Poets,
Bootsy's Rubber Band,
Nirvana,
Public Image Ltd.,
Bill Wells,
Buzzcocks,
The Monks,
Dual Sessions,
The Victims,
Althea and Donna,
Index,
Manfred Mann's Earth Band,
The Beau Brummels,
Gerry Rafferty,
The Cure,
The Selecter,
The Martian,
Heaven 17,
Zero Boys,
The Pretty Things,
Joe Smooth,
The New Christs,
Lou Reed & John Cale,
Animal Collective,
The Barracudas,
Soulsonic Force,
Iggy Pop,
Alice Coltrane,
Gary Puckett & The Union Gap,
Avey Tare's Slasher Flicks,
E-Dancer,
The Human League,
Bauhaus,
Agitation Free,
Sly & The Family Stone,
Country Joe & The Fish,
Mission of Burma,
The Moody Blues,
Subhumans,
Minnie Riperton,
David Axelrod,
Pharoah Sanders,
Con Funk Shun,
Quantec,
Public Enemy,
Yazoo,
The Dave Clark Five,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.