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 Bulgaria and from Cairo.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Shanghai and Philadelphia.
I'm losing my edge to the art-school Lagos 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the theremin 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 Blancmange to the grime kids.
I played it at the Astoria.
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 Isaac Hayes. All the underground hits.
All Dead Boys tracks. I heard you have a vinyl of every Crispy Ambulance record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a theremin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Kaleidoscope record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wire,
Crime,
E-Dancer,
June of 44,
World's Most,
Electric Light Orchestra,
Pantaleimon,
The Dead C,
Basic Channel,
Marmalade,
Public Image Ltd.,
Prince Buster,
Nick Fraelich,
Q65,
Gil Scott-Heron & Brian Jackson,
The Sonics,
Sister Nancy,
The Blues Magoos,
Cluster,
Bauhaus,
Dark Day,
Nico,
Sonic Youth,
Connie Case,
Angels of Light & Akron/Family,
Sonny Sharrock,
Letta Mbulu,
Yazoo,
8 Eyed Spy,
Skarface,
the Slits,
Moss Icon,
Kas Product,
Mo-Dettes,
Scratch Acid,
Kenny Larkin,
Intrusion,
Eric Copeland,
Donny Hathaway,
Yaz,
Lalo Schifrin,
Camberwell Now,
Rakim,
Bootsy Collins,
Stiv Bators,
Bad Manners,
Mad Mike,
Rapeman,
Mark Hollis,
Kerri Chandler,
the Fania All-Stars,
Peter Gordon & Love of Life Orchestra,
These Immortal Souls,
Roger Hodgson,
Be Bop Deluxe,
Wasted Youth,
the Normal,
Soulsonic Force,
The Count Five,
Absolute Body Control,
The Beau Brummels,
Nirvana,
Rekid,
Leonard Cohen, Leonard Cohen, Leonard Cohen, Leonard Cohen.
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.