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 Calgary.
But I was there.
I was there in 1978.
I was there at the first Visage show in 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 1968 to 1970.
I'm losing my edge.
To all the kids in Manila and Jakarta.
I'm losing my edge to the art-school Toronto 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the guitar sounds with much patience.
I was there when Robert Palmer 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 Hasil Adkins to the electroclash 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 Jawbox. All the underground hits.
All Mantronix tracks. I heard you have a vinyl of every Laurel Aitken record on German import.
I heard that you have a white label of every seminal punk 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 an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Eric Dolphy record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Star Department,
Ralphi Rosario,
Second Layer,
Faust,
The Pop Group,
Beasts of Bourbon,
Dawn Penn,
Interpol,
Magazine,
Ludus,
Saccharine Trust,
Kenny Larkin,
Camberwell Now,
Bang On A Can,
Porter Ricks,
Index,
Sister Nancy,
Vaughan Mason & Crew,
Audionom,
Whodini,
The Moody Blues,
Larry & the Blue Notes,
Pulsallama,
Grandmaster Flash and the Furious Five,
Maleditus Sound,
Lucky Dragons,
U.S. Maple,
Radio Birdman,
Kayak,
Pierre Henry,
Gang Starr,
The Saints,
Goldenarms,
Quando Quango,
Quantec,
The Sonics,
Rhythim Is Rhythim,
Outsiders,
Popol Vuh,
Tommy Roe,
Rites of Spring,
Thompson Twins,
Wings,
Rekid,
The Beau Brummels,
Louis and Bebe Barron,
Infiniti,
Unrelated Segments,
The Human League,
Amazonics,
Marvin Gaye,
Notorious Big And Bone Thugs,
The Standells,
Sun Ra,
Chrome,
Animal Collective,
Monks,
10cc,
Bootsy Collins,
The Gun Club,
Johnny Osbourne,
Schoolly D,
Public Enemy,
Desert Stars,
Stereo Dub, Stereo Dub, Stereo Dub, Stereo Dub.
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.