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 Togo 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 1961 to 1975.
I'm losing my edge.
To all the kids in Halifax and Columbus.
I'm losing my edge to the art-school Salvador 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 1971 at the first Selda practice in a loft in Istanbul.
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 The Velvet Underground to the crunk kids.
I played it at Trash.
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 Gong. All the underground hits.
All The Grass Roots tracks. I heard you have a vinyl of every Matthew Bourne record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heaven 17,
Red Lorry Yellow Lorry,
Frankie Knuckles,
Oppenheimer Analysis,
Mark Hollis,
The American Breed,
Minny Pops,
X-101,
Grey Daturas,
Jesper Dahlback,
Duran Duran,
The Invisible,
Robert Görl,
the Slits,
Gregory Isaacs,
Lalo Schifrin,
The Sound,
Ultravox,
Jerry's Kids,
Scan 7,
The Cosmic Jokers,
Rakim,
Visage,
Sad Lovers and Giants,
H. Thieme,
Altered Images,
Robert Hood,
Pole,
Skarface,
The Neon Judgement,
The Doobie Brothers,
Crooked Eye,
Parry Music,
Radiohead,
The Toasters,
Gastr Del Sol,
Joe Finger,
Freddie Wadling,
Harry Pussy,
Fear,
Peter & Gordon,
The Electric Prunes,
Infiniti,
Loose Ends,
Notorious Big And Bone Thugs,
Sex Pistols,
Joyce Sims,
Basic Channel,
Sonny Sharrock,
Junior Murvin,
The Modern Lovers,
Notorious BIG live in Amsterdam,
Swell Maps,
Banda Bassotti,
Cheater Slicks,
Maleditus Sound,
Amon Düül II,
Avey Tare's Slasher Flicks,
Zapp,
The Cowsills,
Marc Almond,
The Count Five,
The Fall, The Fall, The Fall, The Fall.
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.