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 Libya and from Lagos.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1972.
I'm losing my edge.
To all the kids in Hong Kong and Bologna.
I'm losing my edge to the art-school Johannesburg 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 at the first Suicide practice in a loft in New York.
I was working on the mellotron sounds with much patience.
I was there when Donald Fagen 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 Sly & The Family Stone to the disco 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 Stockholm Monsters. All the underground hits.
All Essential Logic tracks. I heard you have a vinyl of every Gil Scott-Heron & Brian Jackson record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
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 spring reverb and bought a 808.
I hear that you and your band have sold your 808 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?
The Alarm Clocks,
Royal Trux,
Black Pus,
Flamin' Groovies,
Jerry's Kids,
Juan Atkins,
Jacques Brel,
Funky Four + One,
Circle Jerks,
Guru Guru,
The New Christs,
Junior Murvin,
The Move,
Bootsy's Rubber Band,
Terrestrial Tones,
Tears for Fears,
Television,
Ornette Coleman,
The Music Machine,
Bush Tetras,
Dark Day,
Niagra,
Tom Boy,
Chris & Cosey,
Visage,
Thinking Fellers Union Local 282,
Kas Product,
Subhumans,
Urselle,
Boredoms,
Dennis Brown,
Avey Tare's Slasher Flicks,
Das Ding,
Severed Heads,
The Cramps,
Rites of Spring,
The Monochrome Set,
Marc Almond,
The Smiths,
Suicide,
Mandrill,
The Modern Lovers,
Excepter,
Symarip,
Kings Of Tomorrow,
Kauko Röyhkä ja Narttu,
The Vogues,
Curtis Mayfield,
Stiv Bators,
Rod Modell,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Babytalk,
AZ,
U.S. Maple,
Jawbox,
Black Sheep,
The Searchers,
Gichy Dan,
Public Image Ltd.,
Echo & the Bunnymen,
Jandek,
Laurel Aitken, Laurel Aitken, Laurel Aitken, Laurel Aitken.
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.