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 Costa Rica and from Portland.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Woodstock and Bremen.
I'm losing my edge to the art-school Cairo 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 2001 at the first Tiga practice in a loft in Montreal.
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 Depeche Mode to the techno kids.
I played it at the Astoria.
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 Eden Ahbez. All the underground hits.
All Sugar Minott tracks. I heard you have a vinyl of every Throbbing Gristle 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 '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a MDC record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
Quantec,
Brick,
The Last Poets,
Outsiders,
Kevin Saunderson,
Blancmange,
Average White Band,
The Index,
Lakeside,
The Names,
Deadbeat,
Magma,
Moebius,
Susan Cadogan,
Eurythmics,
The Gap Band,
The Cowsills,
Louis and Bebe Barron,
Nation of Ulysses,
Swell Maps,
Ten City,
Quando Quango,
Trumans Water,
K-Klass,
Gil Scott Heron,
The Happenings,
Deepchord,
Alice Coltrane,
Terry Callier,
Flamin' Groovies,
Swans,
Vladislav Delay,
Camron Feat. Memphis Bleek And Beenie Seigel,
Godley & Creme,
Quadrant,
Lungfish,
Ultravox,
The Monochrome Set,
Liaisons Dangereuses,
Bronski Beat,
Roy Ayers,
Dave Gahan,
Metal Thangz,
Fatback Band,
Ossler,
Drexciya,
Fugazi,
Aaron Thompson,
Basic Channel,
Lee Hazlewood,
Brothers Johnson,
Major Organ And The Adding Machine,
Moby Grape,
Kool G Rap & DJ Polo,
Interpol,
Rakim,
Franke,
Visage,
The Sisters of Mercy,
Scott Walker,
Masters at Work,
Japan,
Michelle Simonal,
Heavy D & The Boyz,
In Retrospect, In Retrospect, In Retrospect, In Retrospect.
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.