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 Barbados and from Accra.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Halifax and Edmonton.
I'm losing my edge to the art-school New York 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 güiro 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 Tommy Roe to the rock 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 Newcleus. All the underground hits.
All Joensuu 1685 tracks. I heard you have a vinyl of every Leonard Cohen record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a theremin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mad Mike,
Kauko Röyhkä ja Narttu,
Jacob Miller,
Tommy Roe,
Funkadelic,
Rites of Spring,
Toni Rubio,
Roxy Music,
Kas Product,
Roy Ayers,
Nation of Ulysses,
Neu!,
These Immortal Souls,
Iggy Pop,
Angry Samoans,
Lungfish,
Skarface,
Archie Shepp,
Scrapy,
Bill Near,
Rapeman,
Brass Construction,
MDC,
John Lydon,
Janne Schatter,
Isaac Hayes,
The Victims,
Aaron Thompson,
Outsiders,
X-Ray Spex,
The Cure,
Can,
The Music Machine,
Maleditus Sound,
Rosa Yemen,
Aswad,
The Searchers,
Derrick May,
Thee Headcoats,
John Holt,
Lindisfarne,
The Pop Group,
Fluxion,
The Fire Engines,
Heavy D & The Boyz,
Ultramagnetic MC's,
Joy Division,
Siouxsie and the Banshees,
Sad Lovers and Giants,
Faust,
The American Breed,
Loose Ends,
Blake Baxter,
Ten City,
Kango’s Stein Massive,
Duran Duran,
T.S.O.L.,
Subhumans,
Adolescents,
Silicon Teens,
Pere Ubu, Pere Ubu, Pere Ubu, Pere Ubu.
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.