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 Poland and from Hong Kong.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Tehran and Copenhagen.
I'm losing my edge to the art-school Sao Paulo 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 1973 at the first Television practice in a loft in New York.
I was working on the spring reverb 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 Michelle Simonal to the electroclash kids.
I played it at the Hacienda.
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 The Busters. All the underground hits.
All The Star Department tracks. I heard you have a vinyl of every Eyeless In Gaza 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 '80s cut and another box set from the '90s.
I hear you're buying a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Qualms record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siouxsie and the Banshees,
the Germs,
Fear,
Public Enemy,
The Monochrome Set,
Intrusion,
The Moleskins,
Bauhaus,
Section 25,
Frankie Knuckles,
Angry Samoans,
Rufus Thomas,
Alice Coltrane,
Dave Gahan,
One Last Wish,
Connie Case,
Thee Headcoats,
The Durutti Column,
The Slits,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Minnie Riperton,
Urselle,
The Pop Group,
Rosa Yemen,
Siglo XX,
Eden Ahbez,
World's Most,
Cabaret Voltaire,
DeepChord presents Echospace,
Metal Thangz,
Notorious Big And Bone Thugs,
Electric Prunes,
The Mojo Men,
Fifty Foot Hose,
Notorious BIG live in Amsterdam,
Camouflage,
X-Ray Spex,
Wasted Youth,
The American Breed,
Circle Jerks,
Country Teasers,
The Trojans,
X-102,
Aural Exciters,
The Happenings,
Wire,
The Detroit Cobras,
Ken Boothe,
X-101,
the Human League,
Andrew Hill,
Brand Nubian,
Supertramp,
Junior Murvin,
The Moody Blues,
Ash Ra Tempel,
T. Rex, T. Rex, T. Rex, T. Rex.
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.