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 Namibia and from Manila.
But I was there.
I was there in 1973.
I was there at the first Television 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 1961 to 1978.
I'm losing my edge.
To all the kids in Bremen and Johannesburg.
I'm losing my edge to the art-school Mexico City 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 mellotron 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 Mad Mike to the electroclash kids.
I played it at CBGB's.
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 Lucky Dragons. All the underground hits.
All Vaughan Mason & Crew tracks. I heard you have a vinyl of every Erasure 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 '70s.
I hear you're buying a theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Dead Boys record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Notorious Big And Bone Thugs,
Traffic Nightmare,
Leonard Cohen,
The Smoke,
Max Romeo,
Aural Exciters,
Terrestrial Tones,
Lindisfarne,
The Skatalites,
Peter and Kerry,
Brothers Johnson,
Sarah Menescal,
Gastr Del Sol,
Roy Ayers,
Al Stewart,
The Detroit Cobras,
The Saints,
Byron Stingily,
Accadde A,
Ken Boothe,
Frankie Knuckles,
Bang On A Can,
Brass Construction,
Pulsallama,
The Last Poets,
This Heat,
Clear Light,
The Standells,
Silicon Teens,
Beasts of Bourbon,
The J.B.'s,
Siglo XX,
Technova,
LL Cool J,
Todd Terry,
Robert Wyatt,
Andrew Hill,
Red Lorry Yellow Lorry,
the Fania All-Stars,
Bronski Beat,
Mission of Burma,
Visage,
Dark Day,
Mo-Dettes,
Arcadia,
Crispian St. Peters,
Goldenarms,
The Durutti Column,
Radio Birdman,
Nick Cave & The Bad Seeds,
The Kinks,
Sparks,
Soft Cell,
Rekid,
Cecil Taylor,
Derrick Morgan,
Michelle Simonal,
Kevin Saunderson,
Maurizio,
Symarip,
The New Christs, The New Christs, The New Christs, The New Christs.
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.