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 Israel and from Manchester.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1979.
I'm losing my edge.
To all the kids in Madrid and Halifax.
I'm losing my edge to the art-school Manchester 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the mellotron sounds with much patience.
I was there when David Bowie 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 The Fuzztones to the grime 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 The Blues Magoos. All the underground hits.
All Bobby Byrd tracks. I heard you have a vinyl of every Rotary Connection record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vaughan Mason & Crew,
Arthur Verocai,
KRS-One,
Shuggie Otis,
Notorious BIG live in Amsterdam,
Erasure,
Bobby Sherman,
New Age Steppers,
Red Lorry Yellow Lorry,
Marshall Jefferson,
Rod Modell,
Agitation Free,
The Toasters,
Max Romeo,
Jacques Brel,
Althea and Donna,
Kool Moe Dee,
Ornette Coleman,
Rites of Spring,
Barclay James Harvest,
Girls At Our Best!,
EPMD,
The Smiths,
Rhythm & Sound,
Tim Buckley,
The Cramps,
Johnny Clarke,
T. Rex,
Malaria!,
The Selecter,
Amazonics,
Little Man,
Los Fastidios,
Crash Course in Science,
Magazine,
The Pop Group,
The Cure,
Joensuu 1685,
Royal Trux,
John Foxx,
Nirvana,
Brothers Johnson,
DeepChord presents Echospace,
The Angels of Light,
Teenage Jesus and the Jerks,
Mark Hollis,
Sällskapet,
The Durutti Column,
Fear,
Soft Machine,
kango's stein massive,
Drexciya,
Inner City,
Steve Hackett,
Gregory Isaacs,
Essential Logic,
Lower 48,
The Neon Judgement,
Marvin Gaye,
Freddie Wadling,
Barbara Tucker,
Dorothy Ashby,
The Move, The Move, The Move, The Move.
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.