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 Greece and from Tokyo.
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 1978.
I'm losing my edge.
To all the kids in Manchester and Copenhagen.
I'm losing my edge to the art-school Madrid 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the clarinet sounds with much patience.
I was there when Donald Fagen 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 Cramps to the punk 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 Audionom. All the underground hits.
All Gichy Dan tracks. I heard you have a vinyl of every Terror Squad Feat. Camron 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 '70s cut and another box set from the '90s.
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 Marmalade record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Wells,
Pussy Galore,
Index,
Stockholm Monsters,
Godley & Creme,
Rotary Connection,
Byron Stingily,
Moby Grape,
Glenn Branca,
Aswad,
Public Enemy,
Judy Mowatt,
The Saints,
Lou Reed & Metallica,
Arcadia,
Ralphi Rosario,
The Chocolate Watch Band,
Model 500,
Little Man,
Patti Smith,
The Durutti Column,
La Düsseldorf,
Susan Cadogan,
Maurizio,
Faraquet,
Flamin' Groovies,
Avey Tare & Kría Brekkan,
Crooked Eye,
Fatback Band,
Howard Jones,
The New Christs,
Lizzy Mercier Descloux,
Mr. Review,
The Blackbyrds,
The Star Department,
Sunsets and Hearts,
Junior Murvin,
Connie Case,
The Martian,
Kayak,
Rufus Thomas,
John Lydon,
Eric Dolphy,
MDC,
Rites of Spring,
Slave,
Trumans Water,
Q65,
Motorama,
Notorious Big And Bone Thugs,
Heaven 17,
Lou Reed & John Cale,
Pere Ubu,
Urselle,
Black Flag,
Man Parrish,
Underground Resistance,
The Fuzztones,
Crispy Ambulance,
The Red Krayola,
Scion,
Dark Day,
Swans, Swans, Swans, Swans.
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.