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 Liechtenstein and from Accra.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1960 to 1972.
I'm losing my edge.
To all the kids in Spokane and Woodstock.
I'm losing my edge to the art-school Bremen 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 1967 at the first Rodriguez practice in a loft in Detroit.
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 The Offenders to the grime kids.
I played it at the Astoria.
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 Scrapy. All the underground hits.
All Public Enemy tracks. I heard you have a vinyl of every Steve Hackett record on German import.
I heard that you have a white label of every seminal dance 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 an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Heavy D & The Boyz record.
I hear that you and your band have sold your theremin and bought an organ.
I hear that you and your band have sold your organ and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warsaw,
Mark Hollis,
Strawberry Alarm Clock,
Parry Music,
Maurizio,
Ohio Players,
The Moleskins,
The Men They Couldn't Hang,
Glambeats Corp.,
Howard Jones,
Joensuu 1685,
Ten City,
The Gories,
The Real Kids,
Bobby Byrd,
Agitation Free,
Pussy Galore,
Dennis Brown,
Eli Mardock,
Aloha Tigers,
Yellowson,
Red Lorry Yellow Lorry,
Thinking Fellers Union Local 282,
Franke,
Mission of Burma,
Scrapy,
The Invisible,
Marc Romboy vs. Booka Shade,
Monolake,
Röyhkä ja Rättö ja Lehtisalo,
Lakeside,
Mr. Review,
The Barracudas,
Buzzcocks,
The Fire Engines,
R.M.O.,
Bobby Womack,
Boz Scaggs,
Ultravox,
Faust,
Pantaleimon,
Lee Hazlewood,
It's A Beautiful Day,
Jandek,
X-Ray Spex,
Kas Product,
The Gladiators,
Letta Mbulu,
Lafayette Afro Rock Band,
James White and The Blacks,
Rapeman,
The Fall,
These Immortal Souls,
Dawn Penn,
Slave,
The American Breed,
Nick Fraelich,
Nirvana,
Avey Tare's Slasher Flicks,
Bizarre Inc.,
Lightning Bolt,
Das Ding,
Hashim, Hashim, Hashim, Hashim.
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.