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 Barbados and from New York.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Edmonton and Beijing.
I'm losing my edge to the art-school Paris 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 chamberlin 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 Angry Samoans to the rock kids.
I played it at the Spitz.
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 Y Pants. All the underground hits.
All Adolescents tracks. I heard you have a vinyl of every Electric Prunes record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Star Department record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Underground Resistance,
Nation of Ulysses,
Ronnie Foster,
The Divine Comedy,
Jawbox,
Gil Scott-Heron & Brian Jackson,
Rapeman,
Lungfish,
Cymande,
Funkadelic,
Depeche Mode,
Deepchord,
Shuggie Otis,
The Monochrome Set,
Lalo Schifrin,
Richard Hell and the Voidoids,
Lee Hazlewood,
The Five Americans,
Masters at Work,
Goldenarms,
The Offenders,
China Crisis,
The Leaves,
Stockholm Monsters,
The Index,
John Lydon,
The Cramps,
Reagan Youth,
Electric Prunes,
Eden Ahbez,
Organ,
Metal Thangz,
Alphaville,
Curtis Mayfield,
Wally Richardson,
The Toasters,
Theoretical Girls,
Scratch Acid,
Pharaoh Sanders and the Fire Engines,
Morten Harket,
Art Ensemble Of Chicago,
10cc,
Warsaw,
Kauko Röyhkä ja Narttu,
Interpol,
Sun City Girls,
Absolute Body Control,
Urselle,
Boogie Down Productions,
Altered Images,
Bluetip,
Silicon Teens,
Grandmaster Flash and the Furious Five,
Siglo XX,
DNA,
Tomorrow,
Ronan,
Moss Icon,
Model 500,
Sparks,
Rosa Yemen,
The United States of America, The United States of America, The United States of America, The United States of America.
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.