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 Morocco and from New York.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Manchester and Lille.
I'm losing my edge to the art-school Manila 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the güiro sounds with much patience.
I was there when Lou Reed 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 R.M.O. to the rap kids.
I played it at the 40 Watt.
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 Roxy Music. All the underground hits.
All The Blues Magoos tracks. I heard you have a vinyl of every Dark Day 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 '60s cut and another box set from the '70s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Absolute Body Control record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moss Icon,
Lee Hazlewood,
Derrick May,
kango's stein massive,
Marc Almond,
Young Marble Giants,
L. Decosne,
Monolake,
Intrusion,
Heaven 17,
Michelle Simonal,
Mr. Review,
Eyeless In Gaza,
X-101,
Boogie Down Productions,
Hot Snakes,
The United States of America,
Yaz,
Lucky Dragons,
Rapeman,
The Techniques,
Theoretical Girls,
Underground Resistance,
Godley & Creme,
Parry Music,
The Cowsills,
Vainqueur,
Boredoms,
Aaron Thompson,
The Saints,
Major Organ And The Adding Machine,
Man Parrish,
June of 44,
Johnny Osbourne,
The Cure,
The J.B.'s,
Donald Byrd,
China Crisis,
Tropical Tobacco,
Banda Bassotti,
Accadde A,
The Sonics,
Eli Mardock,
Todd Terry,
the Germs,
Nico,
Peter Gordon & Love of Life Orchestra,
Joe Finger,
Morten Harket,
Art Ensemble Of Chicago,
Terry Callier,
R.M.O.,
Visage,
Model 500,
Jeff Lynne,
Moebius,
Stetsasonic,
Pharaoh Sanders and the Fire Engines,
The Stooges,
Rites of Spring,
Kayak,
Sarah Menescal,
The Mummies, The Mummies, The Mummies, The Mummies.
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.