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 Lithuania and from Shanghai.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Madrid and Mexico City.
I'm losing my edge to the art-school Columbus 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 Feelies practice in a loft in Haledon.
I was working on the linndrum 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 Alphaville to the grime kids.
I played it at the Spitz.
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 Notorious Big And Bone Thugs. All the underground hits.
All Crispian St. Peters tracks. I heard you have a vinyl of every Avey Tare & Kría Brekkan record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Audionom,
The Victims,
Bad Manners,
Donald Byrd,
Camron Feat. Jay Z And Juelz,
Barclay James Harvest,
The Pop Group,
Robert Hood,
Boredoms,
The Dirtbombs,
Barry Ungar,
Radiohead,
Junior Murvin,
The Count Five,
The American Breed,
Ultravox,
Con Funk Shun,
Roxette,
Joensuu 1685,
Tommy Roe,
Gong,
The Music Machine,
Grauzone,
Pulsallama,
The Jesus and Mary Chain,
The Shadows of Knight,
The Sisters of Mercy,
The Fugs,
Colin Newman,
The Zeros,
Pierre Henry,
the Germs,
Jacob Miller,
Josef K,
Sister Nancy,
The Standells,
Oppenheimer Analysis,
Mark Hollis,
Black Flag,
Quantec,
Avey Tare,
Deutsch Amerikanische Freundschaft,
Parry Music,
Vaughan Mason & Crew,
Delta 5,
Vainqueur,
Radiopuhelimet,
Cheater Slicks,
Anthony Braxton,
Stereo Dub,
Orchestral Manoeuvres in the Dark,
The Toasters,
Stiv Bators,
Arcadia,
the Sonics,
Ken Boothe,
Mr. Review,
Stockholm Monsters,
Super Lover Cee & Casanova Rud,
Ralphi Rosario,
Motorama,
Mantronix, Mantronix, Mantronix, Mantronix.
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.