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 Azerbaijan and from New York.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Beijing and Columbus.
I'm losing my edge to the art-school Delhi 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the snare 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 Vladislav Delay to the jazz kids.
I played it at CBGB's.
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 These Immortal Souls. All the underground hits.
All Thompson Twins tracks. I heard you have a vinyl of every Spandau Ballet record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Crispian St. Peters record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Barracudas,
The Neon Judgement,
The Peanut Butter Conspiracy,
Basic Channel,
Pole,
Charles Mingus,
Gang Green,
The Black Dice,
Lucky Dragons,
Crime,
Magazine,
Hasil Adkins,
Eric B and Rakim,
B.T. Express,
Crash Course in Science,
Cheater Slicks,
Urselle,
John Holt,
The Moody Blues,
Absolute Body Control,
Tim Buckley,
Icehouse,
Notorious BIG live in Amsterdam,
Yusef Lateef,
Pussy Galore,
Gabor Szabo,
Joey Negro,
Goldenarms,
New York Dolls,
Susan Cadogan,
Matthew Bourne,
Lee Hazlewood,
Lalann,
Morten Harket,
Jacques Brel,
Althea and Donna,
Quantec,
These Immortal Souls,
Vainqueur,
Wings,
Suburban Knight,
Pantaleimon,
Terrestrial Tones,
Minor Threat,
The Doobie Brothers,
The Standells,
Nas,
The Walker Brothers,
Sex Pistols,
Barrington Levy,
Thinking Fellers Union Local 282,
Depeche Mode,
Be Bop Deluxe,
Half Japanese,
Sparks,
The Evens,
Funky Four + One,
Wally Richardson,
DeepChord presents Echospace,
Darondo,
Soft Machine,
Swell Maps,
Oblivians,
David McCallum,
The Associates, The Associates, The Associates, The Associates.
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.