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 Israel and from Woodstock.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Johannesburg and London.
I'm losing my edge to the art-school Winnipeg 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 at the first Suicide practice in a loft in New York.
I was working on the chamberlin 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 Dead Boys to the rock kids.
I played it at the Troubador.
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 Moby Grape. All the underground hits.
All Bizarre Inc. tracks. I heard you have a vinyl of every Cymande 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 '80s cut and another box set from the '80s.
I hear you're buying a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Eddi Front record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
The Slackers,
James White and The Blacks,
X-101,
Gang Gang Dance,
Eden Ahbez,
Sexual Harrassment,
Lizzy Mercier Descloux,
The Fire Engines,
Scratch Acid,
Kurtis Blow,
Scan 7,
Reuben Wilson,
Aaron Thompson,
Soul Sonic Force,
D'Angelo,
The United States of America,
Mary Jane Girls,
Donny Hathaway,
The Invisible,
Cheater Slicks,
The Cure,
The J.B.'s,
U.S. Maple,
Sex Pistols,
the Germs,
Lungfish,
Faraquet,
John Cale,
Amon Düül,
Skaos,
Mars,
Nation of Ulysses,
David Axelrod,
The Alarm Clocks,
Quantec,
Agent Orange,
Mad Mike,
Chrome,
Flash Fearless,
Bush Tetras,
Technova,
Donald Byrd,
Camberwell Now,
Sister Nancy,
Barclay James Harvest,
Man Parrish,
Alison Limerick,
Bobbi Humphrey,
Franke,
Peter & Gordon,
Yellowson,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Angels of Light,
Black Bananas,
Tommy Roe,
Scott Walker + Sunn O))),
Fort Wilson Riot,
ABC,
Severed Heads,
Kango’s Stein Massive,
the Soft Cell,
Spandau Ballet, Spandau Ballet, Spandau Ballet, Spandau Ballet.
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.