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 Salvador.
But I was there.
I was there in .
I was there at the first Suicide 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 1961 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Milan.
I'm losing my edge to the art-school Jakarta 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 mellotron 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 Arthur Verocai to the rap 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 Big Daddy Kane. All the underground hits.
All Laurel Aitken tracks. I heard you have a vinyl of every Thinking Fellers Union Local 282 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 '70s cut and another box set from the '70s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a JFA 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?
Richard Hell and the Voidoids,
Aaron Thompson,
The Wake,
The Blues Magoos,
Dawn Penn,
Pussy Galore,
Youth Brigade,
The Flesh Eaters,
Inner City,
The Velvet Underground,
Todd Terry,
Rhythm & Sound,
Harpers Bizarre,
Ronnie Foster,
Monks,
Visage,
U.S. Maple,
Adolescents,
The Move,
Marine Girls,
The American Breed,
Organ,
Surgeon,
KRS-One,
Public Image Ltd.,
Iggy Pop,
Black Pus,
The Alarm Clocks,
Reuben Wilson,
The Victims,
Skriet,
Dennis Brown,
X-102,
Ohio Players,
Gang Green,
Parry Music,
Brick,
X-101,
Grandmaster Flash and the Furious Five,
Malaria!,
Michelle Simonal,
Little Man,
Scratch Acid,
Graham Central Station,
The Martian,
Black Bananas,
Grandmaster Flash,
John Coltrane,
Brass Construction,
Roxy Music,
The Mojo Men,
Amon Düül,
Y Pants,
Royal Trux,
Ken Boothe,
Harmonia,
EPMD,
Pylon,
Nick Fraelich,
Super Lover Cee & Casanova Rud, Super Lover Cee & Casanova Rud, Super Lover Cee & Casanova Rud, Super Lover Cee & Casanova Rud.
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.