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 Tunisia and from Hong Kong.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Copenhagen and Seoul.
I'm losing my edge to the art-school Taipei 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 chamberlin 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 Zapp 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 Gang Starr. All the underground hits.
All Red Lorry Yellow Lorry tracks. I heard you have a vinyl of every Rod Modell 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 '80s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Sisters of Mercy record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang of Four,
Malaria!,
The Modern Lovers,
Robert Görl,
The Fuzztones,
The Selecter,
Todd Terry,
Mars,
Warsaw,
Hoover,
Avey Tare's Slasher Flicks,
Fluxion,
Sly & The Family Stone,
Neil Young,
Steve Hackett,
Slave,
Essential Logic,
Kaleidoscope,
Los Fastidios,
Barbara Tucker,
Liliput,
Lafayette Afro Rock Band,
Arthur Verocai,
John Coltrane,
Lou Reed,
the Slits,
The Mummies,
Blossom Toes,
Bobby Sherman,
The Evens,
New York Dolls,
Massinfluence,
Todd Rundgren,
The Last Poets,
Marc Almond,
Wire,
Saccharine Trust,
Roy Ayers,
The Moleskins,
Monks,
James Chance & The Contortions,
Audionom,
Joe Smooth,
Stetsasonic,
The Walker Brothers,
cv313,
Symarip,
the Association,
Shoche,
Zero Boys,
John Lydon,
Danielle Patucci,
Lebanon Hanover,
Liaisons Dangereuses,
Nick Fraelich,
Ultra Naté,
Scrapy,
Crime,
Lightning Bolt,
Rapeman,
Terrestrial Tones,
MC5,
Fugazi, Fugazi, Fugazi, Fugazi.
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.