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 Haiti and from Mexico City.
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 1974.
I'm losing my edge.
To all the kids in London and Lyon.
I'm losing my edge to the art-school Copenhagen 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 1976 at the first Chic practice in a loft in New York.
I was working on the spring reverb 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 Rapeman 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 Sparks. All the underground hits.
All Jawbox tracks. I heard you have a vinyl of every Bob Dylan 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 '80s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Monks record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Godley & Creme,
Jeff Lynne,
Zero Boys,
Dawn Penn,
Severed Heads,
Qualms,
Kevin Saunderson,
New Order,
Sad Lovers and Giants,
DeepChord presents Echospace,
The Star Department,
Royal Trux,
Massinfluence,
The Young Rascals,
The Cramps,
LL Cool J,
Anthony Braxton,
Colin Newman,
The Barracudas,
Youth Brigade,
Icehouse,
L. Decosne,
Grey Daturas,
Fear,
The Gap Band,
The Names,
Eurythmics,
Accadde A,
Banda Bassotti,
Joe Smooth,
Black Sheep,
Gong,
Marmalade,
Roy Ayers Ubiquity,
Soul II Soul,
Los Fastidios,
Soul Sonic Force,
Roger Hodgson,
the Soft Cell,
10cc,
The Alarm Clocks,
Cameo,
Technova,
Joyce Sims,
Fort Wilson Riot,
Q65,
Orchestral Manoeuvres in the Dark,
The Dirtbombs,
Sandy B,
Eyeless In Gaza,
Prince Buster,
Hardrive,
Aswad,
Radio Birdman,
Fluxion,
Red Lorry Yellow Lorry,
Skarface,
Avey Tare's Slasher Flicks,
Crispy Ambulance,
Thinking Fellers Union Local 282,
Sister Nancy,
Bill Near, Bill Near, Bill Near, Bill Near.
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.