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 Portugal and from Paris.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1971.
I'm losing my edge.
To all the kids in Portland and Taipei.
I'm losing my edge to the art-school Manila 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 1976 at the first Wire practice in a loft in Watford.
I was working on the mellotron 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 Lightning Bolt to the grunge 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 Green. All the underground hits.
All James Chance & The Contortions tracks. I heard you have a vinyl of every Monolake 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 '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Thompson Twins record.
I hear that you and your band have sold your sitar and bought a snare.
I hear that you and your band have sold your snare 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 Raincoats,
48th St. Collective,
Heavy D & The Boyz,
Glambeats Corp.,
The Flesh Eaters,
Dual Sessions,
The Birthday Party,
Sällskapet,
Rahsaan Roland Kirk,
Section 25,
The Techniques,
Sun Ra,
Strawberry Alarm Clock,
Monks,
The Cowsills,
Television Personalities,
Technova,
The Blackbyrds,
Grandmaster Flash,
U.S. Maple,
Robert Hood,
Kings Of Tomorrow,
Urselle,
Kerrie Biddell,
the Soft Cell,
Amazonics,
The Slackers,
The Cosmic Jokers,
Anthony Braxton,
Echo & the Bunnymen,
Beasts of Bourbon,
Letta Mbulu,
Selector Dub Narcotic,
Archie Shepp,
Royal Trux,
DNA,
Hardrive,
Lalo Schifrin,
The Blues Magoos,
Tropical Tobacco,
Spandau Ballet,
Eddi Front,
Sandy B,
Max Romeo,
Rakim,
Index,
Flipper,
Skaos,
Sugar Minott,
The Star Department,
The Gladiators,
Mad Mike,
Rosa Yemen,
London Community Gospel Choir,
Lou Christie,
The Golliwogs,
Todd Terry,
Todd Rundgren,
Larry & the Blue Notes,
Gang of Four,
Roger Hodgson, Roger Hodgson, Roger Hodgson, Roger Hodgson.
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.