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 United Kingdom and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1972.
I'm losing my edge.
To all the kids in Lagos and Milan.
I'm losing my edge to the art-school Salvador 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 at the first Suicide practice in a loft in New York.
I was working on the theremin sounds with much patience.
I was there when Robert Palmer 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 Brick to the electroclash kids.
I played it at the Troubador.
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 Eli Mardock. All the underground hits.
All The Modern Lovers tracks. I heard you have a vinyl of every Sunsets and Hearts 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 '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Names record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
48th St. Collective,
Howard Jones,
the Germs,
The Men They Couldn't Hang,
Orchestral Manoeuvres in the Dark,
Arab on Radar,
Ornette Coleman,
Stiv Bators,
Wolf Eyes,
The Busters,
Jacques Brel,
The Velvet Underground,
Leonard Cohen,
Bluetip,
Los Fastidios,
Visage,
Marshall Jefferson,
Flash Fearless,
Godley & Creme,
The Mojo Men,
Guru Guru,
Lower 48,
Lou Reed & Metallica,
Mr. Review,
Fela Kuti,
Camouflage,
Ohio Players,
ABC,
Throbbing Gristle,
Bang on a Can All-Stars,
Dave Gahan,
Thee Headcoats,
John Coltrane,
Crime,
Deutsch Amerikanische Freundschaft,
John Lydon,
Dark Day,
Kango’s Stein Massive,
Robert Hood,
Alison Limerick,
The Slackers,
Soulsonic Force,
The Real Kids,
The Zeros,
Das Ding,
Interpol,
Erasure,
Lindisfarne,
Brand Nubian,
Index,
Second Layer,
The Misunderstood,
Amon Düül,
The Index,
The Mighty Diamonds,
Byron Stingily,
Traffic Nightmare,
Gil Scott-Heron and Jamie xx,
June Days,
Hoover,
The Trojans, The Trojans, The Trojans, The Trojans.
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.