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 Zimbabwe and from Bologna.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1973.
I'm losing my edge.
To all the kids in Tokyo and Portland.
I'm losing my edge to the art-school Copenhagen 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the harpsichord 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 Scott Walker to the funk kids.
I played it at CBGB's.
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 Unwound. All the underground hits.
All Qualms tracks. I heard you have a vinyl of every Minor Threat record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a snare and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Moleskins record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roxette,
Andrew Hill,
Tears for Fears,
Royal Trux,
Gil Scott-Heron & Brian Jackson,
Bobby Womack,
Joyce Sims,
David Bowie,
Marc Almond,
Glambeats Corp.,
The Tremeloes,
Rapeman,
Yaz,
The Gap Band,
The Young Rascals,
Bad Manners,
Marc Romboy vs. Booka Shade,
Cluster,
Sun City Girls,
Janne Schatter,
Althea and Donna,
Ornette Coleman,
Neil Young,
Sun Ra Arkestra,
the Slits,
Robert Wyatt,
Moby Grape,
Avey Tare's Slasher Flicks,
Crash Course in Science,
Flash Fearless,
The Grass Roots,
Sarah Menescal,
The Smiths,
Newcleus,
Duran Duran,
Dead Boys,
Technova,
KRS-One,
Howard Jones,
Angels of Light & Akron/Family,
James Chance & The Contortions,
Pussy Galore,
Brand Nubian,
Mars,
Arab on Radar,
Bob Dylan,
Sandy B,
Liaisons Dangereuses,
Nick Cave & The Bad Seeds,
Lou Reed & Metallica,
Magazine,
Cybotron,
The Last Poets,
Jimmy McGriff,
Dave Gahan,
Shuggie Otis,
Jawbox,
Lucky Dragons,
The Searchers,
Bootsy Collins,
Country Joe & The Fish,
The Fuzztones,
Anakelly,
Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch.
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.