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 Seychelles and from Mexico City.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Glasgow and Accra.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the chamberlin 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 Roy Ayers Ubiquity to the disco kids.
I played it at the Hacienda.
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 D'Angelo. All the underground hits.
All Yazoo tracks. I heard you have a vinyl of every Glambeats Corp. 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 '70s cut and another box set from the '70s.
I hear you're buying a theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Porter Ricks record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jawbox,
Pussy Galore,
The Saints,
Sonic Youth,
Mandrill,
The Pretty Things,
Tropical Tobacco,
Alphaville,
Kings Of Tomorrow,
Dorothy Ashby,
Monolake,
Dual Sessions,
Delon & Dalcan,
The Men They Couldn't Hang,
Albert Ayler,
Lucky Dragons,
Audionom,
Sister Nancy,
MDC,
Fluxion,
The Standells,
The Jesus and Mary Chain,
Stetsasonic,
Selector Dub Narcotic,
Visionaries,LMNO, T- Love & Iriscience,
PIL,
Ronan,
Motorama,
Gang Starr,
Soft Machine,
Bobbi Humphrey,
Dave Gahan,
Lindisfarne,
The Fall,
This Heat,
Trumans Water,
Mars,
Monks,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Section 25,
Bang on a Can All-Stars,
Severed Heads,
Dark Day,
Man Eating Sloth,
A Certain Ratio,
Jerry's Kids,
The Cure,
LL Cool J,
Faraquet,
Frankie Knuckles,
Lee Hazlewood,
F. McDonald,
Minor Threat,
The Gladiators,
Fat Boys,
Joe Smooth,
Gian Franco Pienzio,
Kurtis Blow,
Roy Ayers Ubiquity,
Talk Talk,
Spandau Ballet, Spandau Ballet, Spandau Ballet, Spandau Ballet.
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.