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 Bangladesh and from Madrid.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1975.
I'm losing my edge.
To all the kids in Tehran and Johannesburg.
I'm losing my edge to the art-school Tokyo 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the sitar 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 Mad Mike to the dance 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 Schoolly D. All the underground hits.
All Talk Talk tracks. I heard you have a vinyl of every Siouxsie and the Banshees record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Con Funk Shun record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Pus,
Rufus Thomas,
Howard Jones,
Yusef Lateef,
Soul II Soul,
Tim Buckley,
Sun Ra,
Radio Birdman,
Second Layer,
Skriet,
Sexual Harrassment,
Liliput,
Ronnie Foster,
Inner City,
Ultimate Spinach,
Shoche,
Bob Dylan,
Quando Quango,
Lower 48,
FM Einheit,
The American Breed,
MDC,
cv313,
Orchestral Manoeuvres in the Dark,
Wasted Youth,
The Knickerbockers,
The Move,
Metal Thangz,
Chrome,
Stereo Dub,
Soulsonic Force,
The Young Rascals,
World's Most,
Chris & Cosey,
Funkadelic,
The Tremeloes,
Soft Machine,
Tres Demented,
Bobby Byrd,
Massinfluence,
Ludus,
Sonic Youth,
Delon & Dalcan,
Frankie Knuckles,
Television Personalities,
Slave,
The Velvet Underground,
Bauhaus,
Lou Reed,
The Durutti Column,
Bobby Hutcherson,
Avey Tare,
Moby Grape,
Monolake,
Vainqueur,
L. Decosne,
Joe Finger,
James White and The Blacks,
June of 44,
Spoonie Gee,
The Black Dice,
Public Image Ltd.,
Vladislav Delay, Vladislav Delay, Vladislav Delay, Vladislav Delay.
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.