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 Equatorial Guinea and from Tehran.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Winnipeg and Calgary.
I'm losing my edge to the art-school Sao Paulo 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 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 Sparks to the jazz kids.
I played it at Trash.
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 Kango’s Stein Massive. All the underground hits.
All Lizzy Mercier Descloux tracks. I heard you have a vinyl of every Blossom Toes record on German import.
I heard that you have a white label of every seminal dance 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 spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Excepter record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crispian St. Peters,
Unrelated Segments,
Masters at Work,
Crime,
The Electric Prunes,
Sex Pistols,
Andrew Ashong & Theo Parrish,
Unwound,
Bootsy's Rubber Band,
Judy Mowatt,
Thompson Twins,
Vladislav Delay,
Captain Beefheart & His Magic Band,
Oneida,
Brothers Johnson,
David McCallum,
Nik Kershaw,
The Offenders,
Mars,
The Moleskins,
The Doobie Brothers,
Deakin,
cv313,
Brand Nubian,
L. Decosne,
Radiopuhelimet,
Jacob Miller,
The Moody Blues,
Rod Modell,
Fluxion,
Maleditus Sound,
E-Dancer,
Peter and Kerry,
Curtis Mayfield,
Anakelly,
Ronnie Foster,
Underground Resistance,
48th St. Collective,
Faust,
The Pop Group,
Joensuu 1685,
Yusef Lateef,
The Wake,
Technova,
Robert Görl,
Harry Pussy,
Todd Rundgren,
Vaughan Mason & Crew,
The J.B.'s,
Kenny Larkin,
China Crisis,
Rufus Thomas,
Agitation Free,
Glambeats Corp.,
Soft Machine,
Ash Ra Tempel,
June Days,
Tears for Fears,
Bobby Hutcherson,
Easy Going,
Fugazi,
Throbbing Gristle, Throbbing Gristle, Throbbing Gristle, Throbbing Gristle.
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.