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 Maldives and from Lagos.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1976.
I'm losing my edge.
To all the kids in New York and Jakarta.
I'm losing my edge to the art-school Manila 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 spring reverb 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 the Bar-Kays to the electroclash 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 Dave Gahan. All the underground hits.
All Qualms tracks. I heard you have a vinyl of every Cluster record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Pylon record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Sex Pistols,
Radiopuhelimet,
Tomorrow,
The Electric Prunes,
Rosa Yemen,
Alphaville,
Warsaw,
X-102,
Sun City Girls,
Susan Cadogan,
Rufus Thomas,
The Happenings,
Amon Düül,
Lakeside,
Deepchord,
Danielle Patucci,
A Flock of Seagulls,
Bauhaus,
Lyres,
X-Ray Spex,
Lee Hazlewood,
a-ha,
Rhythm & Sound,
ABC,
Country Joe & The Fish,
The Smiths,
Janne Schatter,
Eurythmics,
Jerry Gold Smith,
Altered Images,
Monolake,
New Order,
Ultra Naté,
Roger Hodgson,
Blossom Toes,
Teenage Jesus and the Jerks,
Man Eating Sloth,
The Blues Magoos,
Sandy B,
The Angels of Light,
Vainqueur,
De La Soul & Jungle Brothers,
Faraquet,
John Holt,
Gang of Four,
Amon Düül II,
New York Dolls,
Index,
Aaron Thompson,
Oblivians,
Radiohead,
Gil Scott-Heron & Brian Jackson,
Gian Franco Pienzio,
Simply Red,
Matthew Bourne,
Cameo,
It's A Beautiful Day,
Negative Approach,
Fluxion, Fluxion, Fluxion, Fluxion.
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.