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 Guyana and from Columbus.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1961 to 1974.
I'm losing my edge.
To all the kids in Philadelphia and Delhi.
I'm losing my edge to the art-school Cairo 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the chamberlin sounds with much patience.
I was there when Michael McDonald 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 New York Dolls to the electroclash kids.
I played it at the Spitz.
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 Amon Düül II. All the underground hits.
All Radio Birdman tracks. I heard you have a vinyl of every Das Ding 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 '70s cut and another box set from the '70s.
I hear you're buying a sitar and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Marc Almond record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin 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?
Neil Young,
Barrington Levy,
Pylon,
Fear,
Chrome,
Spandau Ballet,
Smog,
Richard Hell and the Voidoids,
Siouxsie and the Banshees,
Junior Murvin,
In Retrospect,
Amon Düül,
Sun City Girls,
Theoretical Girls,
Larry & the Blue Notes,
Mad Mike,
Arthur Verocai,
The Monochrome Set,
Radiopuhelimet,
Sparks,
Skriet,
Au Pairs,
Bobbi Humphrey,
The J.B.'s,
Brick,
Howard Jones,
Bang On A Can,
The American Breed,
The Move,
Anthony Braxton,
Crispy Ambulance,
Popol Vuh,
Avey Tare,
Terry Callier,
Camron Feat. Memphis Bleek And Beenie Seigel,
Surgeon,
Youth Brigade,
Slave,
Q and Not U,
EPMD,
The Offenders,
Gang Starr,
Duran Duran,
Donny Hathaway,
Neu!,
The Blackbyrds,
The Fire Engines,
Throbbing Gristle,
Fatback Band,
Moebius,
Sam Rivers,
Roxy Music,
Kool G Rap & DJ Polo,
The Wake,
Jerry's Kids,
DJ Sneak,
Organ,
Silicon Teens,
Gian Franco Pienzio,
Don Cherry,
X-101,
Rekid,
Vladislav Delay,
10cc, 10cc, 10cc, 10cc.
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.