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 Accra.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1979.
I'm losing my edge.
To all the kids in Shanghai and Lyon.
I'm losing my edge to the art-school Jakarta 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the mellotron 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 Lucky Dragons to the rock 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 Magazine. All the underground hits.
All John Lydon tracks. I heard you have a vinyl of every Infiniti 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 '50s cut and another box set from the '70s.
I hear you're buying a theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Lucky Dragons record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Japan,
The Names,
Silicon Teens,
Derrick Morgan,
Soft Cell,
A Certain Ratio,
Glambeats Corp.,
Warsaw,
Deutsch Amerikanische Freundschaft,
Gastr Del Sol,
MC5,
Yaz,
Aaron Thompson,
David McCallum,
Kaleidoscope,
Nirvana,
Average White Band,
Rowland S Howard / Lydia Lunch,
Kas Product,
Ludus,
Mark Hollis,
La Düsseldorf,
David Axelrod,
The Zeros,
Todd Rundgren,
Graham Central Station,
Bob Dylan,
Jerry Gold Smith,
The Fortunes,
Cal Tjader,
Kauko Röyhkä ja Narttu,
KRS-One,
The Doors,
The Raincoats,
The Move,
Infiniti,
Liaisons Dangereuses,
Donny Hathaway,
Barclay James Harvest,
Lucky Dragons,
The Jesus and Mary Chain,
Roger Hodgson,
Girls At Our Best!,
Ultimate Spinach,
Circle Jerks,
Eric Copeland,
Porter Ricks,
The Vogues,
Teenage Jesus and the Jerks,
Youth Brigade,
The Happenings,
Jimmy McGriff,
The Techniques,
Deakin,
The Kinks,
Schoolly D,
Depeche Mode,
The Real Kids,
The West Coast Pop Art Experimental Band,
Nils Olav,
Sun Ra Arkestra,
Marc Romboy vs. Booka Shade,
ABBA, ABBA, ABBA, ABBA.
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.