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 Angola and from Madrid.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1973.
I'm losing my edge.
To all the kids in London and Milan.
I'm losing my edge to the art-school Woodstock 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 1978 at the first Visage practice in a loft in London.
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 Buzzcocks to the rock 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 Can. All the underground hits.
All Lebanon Hanover tracks. I heard you have a vinyl of every Black Flag record on German import.
I heard that you have a white label of every seminal rap 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 synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Franke,
Bush Tetras,
Judy Mowatt,
Saccharine Trust,
The United States of America,
Average White Band,
The Associates,
D'Angelo,
Terrestrial Tones,
JFA,
Roxette,
Wire,
The Martian,
Surgeon,
AZ,
Bootsy's Rubber Band,
Roy Ayers,
Parry Music,
The Five Americans,
Dennis Brown,
The Slackers,
Sad Lovers and Giants,
The Chocolate Watch Band,
Drexciya,
Technova,
Deutsch Amerikanische Freundschaft,
Soft Cell,
Larry & the Blue Notes,
Underground Resistance,
Rowland S Howard / Lydia Lunch,
This Heat,
Sugar Minott,
Mary Jane Girls,
Intrusion,
The Selecter,
Sarah Menescal,
Leonard Cohen,
The Sisters of Mercy,
The Dead C,
Jeff Lynne,
Isaac Hayes,
The Gap Band,
Fugazi,
Delta 5,
Selector Dub Narcotic,
Patti Smith,
Metal Thangz,
Red Lorry Yellow Lorry,
Lebanon Hanover,
the Soft Cell,
Throbbing Gristle,
Bootsy Collins,
The Smoke,
Kings Of Tomorrow,
Art Ensemble Of Chicago,
Lee Hazlewood,
Soft Machine,
Rahsaan Roland Kirk,
Sun Ra Arkestra,
The Birthday Party, The Birthday Party, The Birthday Party, The Birthday Party.
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.