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 Hungary and from Lyon.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Taipei and Manchester.
I'm losing my edge to the art-school Seoul 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 1979 at the first Second Layer practice in a loft in South London.
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 The New Christs to the disco 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 The Stooges. All the underground hits.
All The Smiths tracks. I heard you have a vinyl of every 48th St. Collective 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 '80s.
I hear you're buying a güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a James White and The Blacks record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Misunderstood,
Sound Behaviour,
Moby Grape,
Buzzcocks,
Nik Kershaw,
Rod Modell,
Amon Düül II,
Zapp,
Rufus Thomas,
The Fall,
Infiniti,
Hardrive,
Unwound,
New Age Steppers,
AZ,
Jandek,
The Doobie Brothers,
Junior Murvin,
Grandmaster Flash,
Barrington Levy,
Alison Limerick,
Prince Buster,
The Barracudas,
The Mighty Diamonds,
Porter Ricks,
Sly & The Family Stone,
Michelle Simonal,
New York Dolls,
Sixth Finger,
The Pretty Things,
Jacob Miller,
Jesper Dahlbäck,
R.M.O.,
Stetsasonic,
Aural Exciters,
Jawbox,
The Martian,
Reagan Youth,
The Cowsills,
Spandau Ballet,
Agitation Free,
June Days,
Rhythm & Sound,
Kool Moe Dee,
The Offenders,
Kenny Larkin,
The Evens,
Zero Boys,
Gian Franco Pienzio,
Jerry Gold Smith,
Sister Nancy,
Schoolly D,
Man Parrish,
John Cale,
Niagra,
Röyhkä ja Rättö ja Lehtisalo,
Surgeon,
The Fugs,
Tomorrow,
Lou Reed,
Intrusion,
Mars,
Minnie Riperton, Minnie Riperton, Minnie Riperton, Minnie Riperton.
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.