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 Poland and from Cairo.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1969 to 1972.
I'm losing my edge.
To all the kids in London and Portland.
I'm losing my edge to the art-school Lagos 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 1973 at the first Television practice in a loft in New York.
I was working on the güiro 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 Minutemen to the disco kids.
I played it at the Hacienda.
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 Harmonia. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every UT record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Marcia Griffiths record.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cure,
Lindisfarne,
Bobby Hutcherson,
Avey Tare's Slasher Flicks,
The Tremeloes,
Sixth Finger,
Crooked Eye,
The Detroit Cobras,
Robert Görl,
Freddie Wadling,
FM Einheit,
Scan 7,
Grey Daturas,
Pere Ubu,
The Smiths,
Underground Resistance,
The Divine Comedy,
The Victims,
Amon Düül II,
Mo-Dettes,
Kool Moe Dee,
Fifty Foot Hose,
Mary Jane Girls,
Big Daddy Kane,
Dr. Dre and Snoop Doggy Dog,
Pole,
Funkadelic,
Angry Samoans,
Susan Cadogan,
A Certain Ratio,
Spandau Ballet,
Johnny Clarke,
Lower 48,
Radiohead,
Major Organ And The Adding Machine,
the Swans,
Amon Düül,
Rapeman,
The Gap Band,
The Moleskins,
Iggy Pop,
Von Mondo,
L. Decosne,
Ornette Coleman,
Pantytec,
Oppenheimer Analysis,
Black Pus,
The Young Rascals,
The Blackbyrds,
The West Coast Pop Art Experimental Band,
Television Personalities,
Kenny Larkin,
Sarah Menescal,
DJ Style,
Lee Hazlewood,
Massinfluence,
The Durutti Column,
Girls At Our Best!,
Alison Limerick,
Lalann,
Howard Jones,
Grandmaster Flash,
Saccharine Trust, Saccharine Trust, Saccharine Trust, Saccharine Trust.
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.