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 Switzerland and from Lyon.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Calgary and Bologna.
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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the theremin 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 Normal to the electroclash 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 Rapeman. All the underground hits.
All Sam Rivers tracks. I heard you have a vinyl of every Scratch Acid record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a David Axelrod record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
Roxette,
Metal Thangz,
Traffic Nightmare,
Anakelly,
Agitation Free,
Au Pairs,
Freddie Wadling,
Sparks,
Gary Puckett & The Union Gap,
Quando Quango,
Barclay James Harvest,
Notorious BIG live in Amsterdam,
The Happenings,
Kas Product,
LL Cool J,
Kayak,
Erasure,
Neil Young,
OOIOO,
Howard Jones,
Neil Young & Crazy Horse,
Bronski Beat,
The Young Rascals,
Skarface,
Eric Dolphy,
Max Romeo,
Index,
The Gun Club,
Kerrie Biddell,
Country Teasers,
Mars,
Ituana,
The Men They Couldn't Hang,
Donny Hathaway,
Camouflage,
Liaisons Dangereuses,
Quantec,
Joe Smooth,
Dorothy Ashby,
Patti Smith,
Vladislav Delay,
R.M.O.,
Stockholm Monsters,
Grandmaster Flash,
Eden Ahbez,
Derrick Morgan,
Mandrill,
Sound Behaviour,
Gichy Dan,
Cymande,
London Community Gospel Choir,
Minutemen,
Liliput,
Scrapy,
John Lydon,
Lonnie Liston Smith,
Amon Düül II,
Robert Görl,
Lizzy Mercier Descloux,
Flamin' Groovies,
Junior Murvin,
Thinking Fellers Union Local 282, Thinking Fellers Union Local 282, Thinking Fellers Union Local 282, Thinking Fellers Union Local 282.
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.