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 Bangladesh and from London.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Tehran and Salvador.
I'm losing my edge to the art-school Milan 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the synthesizer 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 Lindisfarne to the grime kids.
I played it at the Troubador.
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 Gregory Isaacs. All the underground hits.
All Babytalk tracks. I heard you have a vinyl of every China Crisis record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Thompson Twins record.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
Soulsonic Force,
Liliput,
Metal Thangz,
Harmonia,
The Dirtbombs,
Zero Boys,
cv313,
Larry & the Blue Notes,
Malaria!,
Fifty Foot Hose,
ABBA,
Pagans,
the Germs,
Warsaw,
Dennis Brown,
The Star Department,
The Mummies,
Rites of Spring,
Yaz,
Harpers Bizarre,
Soul Sonic Force,
Kool Moe Dee,
James White and The Blacks,
Throbbing Gristle,
LL Cool J,
Scientists,
The New Christs,
Saccharine Trust,
Fort Wilson Riot,
Wasted Youth,
Bill Near,
Gabor Szabo,
U.S. Maple,
Royal Trux,
Freddie Wadling,
Amon Düül II,
This Heat,
Robert Wyatt,
Gian Franco Pienzio,
Scan 7,
MDC,
Second Layer,
The Doors,
Rhythm & Sound,
June Days,
Bobby Womack,
Be Bop Deluxe,
Monks,
Bang On A Can,
The Royal Family And The Poor,
The Index,
Slick Rick,
Sixth Finger,
Lebanon Hanover,
Wire,
Eve St. Jones,
Hot Snakes,
Talk Talk,
Fugazi,
Mary Jane Girls,
The Victims,
Bob Dylan, Bob Dylan, Bob Dylan, Bob Dylan.
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.