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 East Timor and from Seoul.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1971.
I'm losing my edge.
To all the kids in Johannesburg and New York.
I'm losing my edge to the art-school Lille 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the synthesizer 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 Audionom to the electroclash kids.
I played it at the Crocodile.
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 Trumans Water. All the underground hits.
All Parry Music tracks. I heard you have a vinyl of every Circle Jerks record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your linndrum and bought a marimba.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Image Ltd.,
Nation of Ulysses,
Agitation Free,
Gil Scott-Heron and Jamie xx,
H. Thieme,
The Selecter,
ABC,
Stockholm Monsters,
The Leaves,
Steve Hackett,
Bootsy Collins,
Kool Moe Dee,
Sad Lovers and Giants,
Wally Richardson,
The Monks,
Ossler,
Tim Buckley,
Country Teasers,
Goldenarms,
Althea and Donna,
China Crisis,
The Martian,
The Velvet Underground,
Nik Kershaw,
The Fugs,
Visage,
Chris Corsano,
U.S. Maple,
Soft Machine,
Depeche Mode,
Grauzone,
Godley & Creme,
Janne Schatter,
Peter Gordon & Love of Life Orchestra,
Graham Central Station,
Johnny Osbourne,
John Holt,
The Cramps,
David Axelrod,
The Chocolate Watch Band,
Rotary Connection,
Cabaret Voltaire,
Black Pus,
Harry Pussy,
Motorama,
Harmonia,
Urselle,
The Human League,
Scan 7,
K-Klass,
Masters at Work,
The Wake,
The Five Americans,
Sister Nancy,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
X-Ray Spex,
Cluster,
Liliput,
Drive Like Jehu,
Dave Gahan,
Davy DMX, Davy DMX, Davy DMX, Davy DMX.
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.