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 Qatar and from Paris.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Seoul and Shanghai.
I'm losing my edge to the art-school Glasgow 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the linndrum 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 Stiv Bators 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 The Raincoats. All the underground hits.
All the Association tracks. I heard you have a vinyl of every DeepChord presents Echospace record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Nick Cave & The Bad Seeds 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?
Nick Fraelich,
Sällskapet,
Marine Girls,
The Associates,
Supertramp,
Frankie Knuckles,
Zapp,
Lindisfarne,
Barrington Levy,
Joyce Sims,
The Dave Clark Five,
James White and The Blacks,
Public Image Ltd.,
UT,
John Foxx,
Bobby Byrd,
Cecil Taylor,
Dual Sessions,
Stiv Bators,
The Star Department,
Dennis Brown,
Gang Gang Dance,
Marcia Griffiths,
Alphaville,
Prince Buster,
Eyeless In Gaza,
Rhythm & Sound,
Lou Christie,
Vladislav Delay,
Y Pants,
Traffic Nightmare,
Brick,
ABBA,
Q and Not U,
The Durutti Column,
Scan 7,
The Offenders,
L. Decosne,
The Motions,
Joey Negro,
Sparks,
Camron Feat. Memphis Bleek And Beenie Seigel,
This Heat,
The Cramps,
Gil Scott Heron,
U.S. Maple,
Jerry Gold Smith,
Minutemen,
E-Dancer,
Bizarre Inc.,
Warren Ellis,
New York Dolls,
Intrusion,
Jacques Brel,
Tommy Roe,
June of 44,
Make Up,
Tom Boy,
Popol Vuh,
Richard Hell and the Voidoids,
Deutsch Amerikanische Freundschaft,
June Days,
David Axelrod, David Axelrod, David Axelrod, David Axelrod.
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.