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 Mozambique and from Philadelphia.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Delhi and Philadelphia.
I'm losing my edge to the art-school Shanghai 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 1978 at the first Visage practice in a loft in London.
I was working on the sitar sounds with much patience.
I was there when Lou Reed 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 Richard Hell and the Voidoids to the dance 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 Fear. All the underground hits.
All Dorothy Ashby tracks. I heard you have a vinyl of every The Five Americans record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
June Days,
Ronan,
Stockholm Monsters,
Angels of Light & Akron/Family,
Liliput,
The Gories,
Erasure,
Rapeman,
Kool G Rap & DJ Polo,
Suicide,
Morten Harket,
Ten City,
Erykah Badu,
The Birthday Party,
Technova,
Godley & Creme,
Glenn Branca,
Kevin Saunderson,
Deutsch Amerikanische Freundschaft,
The Skatalites,
Patti Smith,
The Slits,
Bang On A Can,
Fat Boys,
Essential Logic,
The Saints,
Pharaoh Sanders and the Fire Engines,
Fatback Band,
Interpol,
Eyeless In Gaza,
Ken Boothe,
The Mighty Diamonds,
Unrelated Segments,
The Walker Brothers,
Nick Cave & The Bad Seeds,
Red Lorry Yellow Lorry,
Crispian St. Peters,
Thompson Twins,
Selector Dub Narcotic,
Avey Tare's Slasher Flicks,
Black Pus,
Crime,
the Bar-Kays,
E-Dancer,
Siouxsie and the Banshees,
Unwound,
Sunsets and Hearts,
Kenny Larkin,
Marcia Griffiths,
Popol Vuh,
Quando Quango,
Mark Hollis,
Lindisfarne,
Thinking Fellers Union Local 282,
Buzzcocks,
Stereo Dub,
Pantytec,
The Searchers,
Blake Baxter,
The Fire Engines,
Radiopuhelimet,
Siglo XX, Siglo XX, Siglo XX, Siglo XX.
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.