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 Vanuatu and from Mumbai.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Mexico City and Shanghai.
I'm losing my edge to the art-school Jakarta 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 1984 at the first Arcadia practice in a loft in London.
I was working on the sitar 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 Essential Logic to the disco 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 John Coltrane. All the underground hits.
All Steve Hackett tracks. I heard you have a vinyl of every The Litter record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Depeche Mode record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Toasters,
Groovy Waters,
Lightning Bolt,
Crash Course in Science,
F. McDonald,
The Names,
Half Japanese,
Make Up,
Laurel Aitken,
Section 25,
Justin Hinds & The Dominoes,
Scrapy,
Nik Kershaw,
Rosa Yemen,
Das Ding,
Lalann,
Magma,
Lebanon Hanover,
The Buckinghams,
Chris & Cosey,
Shoche,
The Dirtbombs,
Crime,
Stereo Dub,
New York Dolls,
Byron Stingily,
Röyhkä ja Rättö ja Lehtisalo,
Agent Orange,
Skarface,
Fat Boys,
Gil Scott-Heron & Brian Jackson,
Art Ensemble Of Chicago,
Funky Four + One,
The Zeros,
Theoretical Girls,
Bill Near,
Mary Jane Girls,
A Certain Ratio,
Ossler,
The Gladiators,
Cheater Slicks,
Monks,
The Searchers,
Deadbeat,
DeepChord presents Echospace,
The Doors,
Bronski Beat,
Gichy Dan,
T. Rex,
Pulsallama,
Ultimate Spinach,
The Tremeloes,
The Knickerbockers,
E-Dancer,
David McCallum,
Nick Fraelich,
Lee Hazlewood,
Darondo,
Deakin,
The Sonics,
The Fugs,
Roxette, Roxette, Roxette, Roxette.
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.