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 Malta and from Beijing.
But I was there.
I was there in .
I was there at the first Suicide 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 1968 to 1977.
I'm losing my edge.
To all the kids in Bremen and Glasgow.
I'm losing my edge to the art-school Philadelphia 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the chamberlin 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 Dead Boys to the punk kids.
I played it at Trash.
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 Todd Terry. All the underground hits.
All The Doors tracks. I heard you have a vinyl of every the Germs 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 '80s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Mummies record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oblivians,
DJ Sneak,
Deakin,
Ultimate Spinach,
Essential Logic,
Major Organ And The Adding Machine,
Television Personalities,
Bronski Beat,
Intrusion,
Scan 7,
Delon & Dalcan,
Sixth Finger,
Camouflage,
The Seeds,
Lower 48,
It's A Beautiful Day,
Cameo,
The Dirtbombs,
Soft Machine,
Kauko Röyhkä ja Narttu,
Kaleidoscope,
Kenny Larkin,
London Community Gospel Choir,
Neu!,
Kurtis Blow,
Kerri Chandler,
Notorious BIG live in Amsterdam,
The Standells,
The Dead C,
Carl Craig,
Scott Walker,
The Leaves,
New Age Steppers,
Tubeway Army,
Bush Tetras,
Agitation Free,
Sparks,
The Divine Comedy,
Surgeon,
The Human League,
Monks,
Lyres,
Silicon Teens,
Jeru the Damaja,
Matthew Bourne,
The Evens,
Zapp,
Eli Mardock,
CMW,
Pantaleimon,
Dorothy Ashby,
Absolute Body Control,
Franke,
Ornette Coleman,
The Toasters,
Glambeats Corp.,
John Foxx,
Kerrie Biddell,
Amazonics,
The Raincoats,
Siglo XX, Siglo XX, Siglo XX, Siglo XX.
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.