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 Saudi Arabia and from Manila.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1973.
I'm losing my edge.
To all the kids in Glasgow and Taipei.
I'm losing my edge to the art-school Salvador 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the guitar 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 James Chance & The Contortions to the grunge kids.
I played it at the Troubador.
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 Clear Light. All the underground hits.
All Stetsasonic tracks. I heard you have a vinyl of every AZ 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 '60s cut and another box set from the '90s.
I hear you're buying an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Index record.
I hear that you and your band have sold your theremin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Metal Thangz,
Wire,
Nirvana,
Deepchord,
Camouflage,
Henry Cow,
Hardrive,
The Pop Group,
The Gladiators,
Yellowson,
Ultra Naté,
The Velvet Underground,
Josef K,
The Dead C,
OOIOO,
Schoolly D,
Girls At Our Best!,
Outsiders,
The Motions,
Duran Duran,
the Sonics,
Country Teasers,
the Bar-Kays,
Ponytail,
The Gories,
Gil Scott Heron,
The Mummies,
Magma,
Connie Case,
Au Pairs,
PIL,
Sällskapet,
Eddi Front,
Avey Tare & Kría Brekkan,
Rakim,
Blancmange,
Jerry Gold Smith,
Brass Construction,
Main Source,
Fort Wilson Riot,
Piero Umiliani,
ABC,
Rosa Yemen,
Matthew Halsall,
Patti Smith,
Shoche,
The Five Americans,
Rowland S Howard / Lydia Lunch,
Unrelated Segments,
Bauhaus,
Gian Franco Pienzio,
Dorothy Ashby,
Mission of Burma,
Bush Tetras,
Magazine,
Nick Fraelich,
Stockholm Monsters,
F. McDonald,
Bobby Byrd,
Aural Exciters,
The Barracudas, The Barracudas, The Barracudas, The Barracudas.
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.