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 Oman and from Cairo.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Tokyo and Toronto.
I'm losing my edge to the art-school Johannesburg 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 1978 at the first Visage practice in a loft in London.
I was working on the mellotron sounds with much patience.
I was there when Captain Beefheart 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 Sad Lovers and Giants to the techno kids.
I played it at Cafe Wha.
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 Jesus and Mary Chain. All the underground hits.
All Boredoms tracks. I heard you have a vinyl of every Roxy Music record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your harpsichord and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wighnomy Brothers & Robag Wruhme,
Aswad,
Nas,
Easy Going,
Dead Boys,
Visage,
Suburban Knight,
China Crisis,
Dave Gahan,
The Litter,
Drexciya,
Black Bananas,
Pylon,
Lower 48,
The Star Department,
Crash Course in Science,
Crime,
Adolescents,
Gary Puckett & The Union Gap,
The Doobie Brothers,
Das Ding,
Todd Rundgren,
Rhythim Is Rhythim,
Black Moon,
Beasts of Bourbon,
Wire,
Tears for Fears,
Young Marble Giants,
Brick,
The Five Americans,
Terry Callier,
The Divine Comedy,
Piero Umiliani,
Pole,
Scrapy,
Minutemen,
Moss Icon,
Boredoms,
Cymande,
The Sonics,
JFA,
Ossler,
Ultravox,
Massinfluence,
UT,
Bobby Byrd,
Alison Limerick,
Kerrie Biddell,
the Germs,
Mark Hollis,
Minor Threat,
Radio Birdman,
Urselle,
Cheater Slicks,
Johnny Osbourne,
Traffic Nightmare,
The Slackers,
The Monochrome Set,
The Leaves,
The Techniques,
Liliput,
Skaos, Skaos, Skaos, Skaos.
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.