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 Spokane.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Philadelphia and Paris.
I'm losing my edge to the art-school Jakarta 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 Michael McDonald 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 Durutti Column to the disco kids.
I played it at the Astoria.
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 Nirvana. All the underground hits.
All Bauhaus tracks. I heard you have a vinyl of every Scan 7 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 '80s cut and another box set from the '70s.
I hear you're buying a rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlbäck record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Patti Smith,
Radio Birdman,
Red Lorry Yellow Lorry,
Basic Channel,
Khruangbin,
Siouxsie and the Banshees,
Ultimate Spinach,
Leonard Cohen,
Althea and Donna,
The Music Machine,
Ponytail,
Magma,
Major Organ And The Adding Machine,
Dorothy Ashby,
The Trojans,
Eric B and Rakim,
Metal Thangz,
The Move,
Peter Gordon & Love of Life Orchestra,
Dennis Brown,
CMW,
The Alarm Clocks,
Bill Near,
Jerry's Kids,
Fela Kuti,
Don Cherry,
Sly & The Family Stone,
Sandy B,
Lou Reed & John Cale,
Ossler,
La Düsseldorf,
Y Pants,
Ronnie Foster,
Bad Manners,
The Electric Prunes,
the Normal,
Bobby Hutcherson,
a-ha,
Kas Product,
Gong,
Thinking Fellers Union Local 282,
Bobby Womack,
Thee Headcoats,
The Last Poets,
Joe Finger,
Crispian St. Peters,
Bobby Byrd,
Angry Samoans,
Strawberry Alarm Clock,
the Human League,
Throbbing Gristle,
Quando Quango,
Lightning Bolt,
Au Pairs,
Funkadelic,
Soft Cell,
Mandrill,
Pierre Henry,
Lou Christie,
Altered Images,
Make Up,
The J.B.'s,
X-102,
Neil Young, Neil Young, Neil Young, Neil Young.
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.