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 Paraguay and from Madrid.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Halifax and Woodstock.
I'm losing my edge to the art-school Stockholm 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 guitar 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 Minor Threat to the rock kids.
I played it at Cafe Wha.
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 Gil Scott-Heron & Brian Jackson. All the underground hits.
All The Moleskins tracks. I heard you have a vinyl of every Lucky Dragons 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 '80s.
I hear you're buying a synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash record.
I hear that you and your band have sold your linndrum and bought a snare.
I hear that you and your band have sold your snare and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sound,
John Holt,
Bobbi Humphrey,
Dave Gahan,
Janne Schatter,
Bill Near,
Delon & Dalcan,
Sad Lovers and Giants,
48th St. Collective,
Max Romeo,
New Age Steppers,
Bizarre Inc.,
the Association,
Anakelly,
Yusef Lateef,
Bobby Hutcherson,
The Skatalites,
Moby Grape,
Bluetip,
The Fall,
Amazonics,
Stiv Bators,
Nik Kershaw,
Glambeats Corp.,
Siouxsie and the Banshees,
The Sisters of Mercy,
The Knickerbockers,
Eden Ahbez,
The J.B.'s,
Technova,
Morten Harket,
The Sonics,
The Gladiators,
The Barracudas,
Marvin Gaye,
Dorothy Ashby,
The Durutti Column,
Accadde A,
Ash Ra Tempel,
Lyres,
Chris Corsano,
Minnie Riperton,
the Bar-Kays,
Can,
Motorama,
Robert Wyatt,
Harpers Bizarre,
Dawn Penn,
Henry Cow,
Nation of Ulysses,
Mary Jane Girls,
Judy Mowatt,
Echo & the Bunnymen,
Public Image Ltd.,
Shuggie Otis,
Brothers Johnson,
The Names,
Mo-Dettes,
The Smiths,
Peter & Gordon,
Yellowson,
The Men They Couldn't Hang,
JFA,
Wire,
E-Dancer, E-Dancer, E-Dancer, E-Dancer.
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.