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 Zambia and from Spokane.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Shanghai and Taipei.
I'm losing my edge to the art-school Accra 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 1984 at the first Arcadia practice in a loft in London.
I was working on the 808 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 Bad Manners to the punk kids.
I played it at the Roxy.
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 Litter. All the underground hits.
All Television tracks. I heard you have a vinyl of every Steve Hackett record on German import.
I heard that you have a white label of every seminal funk 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 an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your güiro and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Todd Rundgren,
The Music Machine,
Man Parrish,
Pole,
Al Stewart,
Byron Stingily,
Anakelly,
Unwound,
The Dave Clark Five,
Accadde A,
Gian Franco Pienzio,
Junior Murvin,
Eli Mardock,
Selector Dub Narcotic,
Radiopuhelimet,
Altered Images,
Parry Music,
T. Rex,
Bob Dylan,
The Dirtbombs,
Lee Hazlewood,
The Divine Comedy,
Iggy Pop,
Lucky Dragons,
Eyeless In Gaza,
Dawn Penn,
Black Moon,
The Monochrome Set,
The Residents,
Franke,
Roy Ayers Ubiquity,
kango's stein massive,
Dorothy Ashby,
Lalo Schifrin,
PIL,
Cymande,
Babytalk,
Rotary Connection,
Ludus,
Kevin Saunderson,
Deakin,
The Motions,
The Buckinghams,
Faust,
Blake Baxter,
Stereo Dub,
Electric Prunes,
Cecil Taylor,
Stetsasonic,
Kas Product,
Model 500,
Marine Girls,
Flipper,
Colin Newman,
E-Dancer,
Super Lover Cee & Casanova Rud,
Michelle Simonal,
Man Eating Sloth,
Delta 5,
Curtis Mayfield,
Amon Düül,
Marshall Jefferson,
Big Daddy Kane,
The Dead C, The Dead C, The Dead C, The Dead C.
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.