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 Tanzania and from Manila.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 Copenhagen and Tehran.
I'm losing my edge to the art-school Philadelphia 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 arpeggiator 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 Little Man to the jazz kids.
I played it at the Roxy.
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 Bronski Beat. All the underground hits.
All Avey Tare's Slasher Flicks tracks. I heard you have a vinyl of every Audionom record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Cal Tjader 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?
Hashim,
Kevin Saunderson,
Nas,
Freddie Wadling,
The Victims,
The Techniques,
The Vogues,
DJ Sneak,
Rotary Connection,
Leonard Cohen,
The Gap Band,
Lou Christie,
Excepter,
Connie Case,
Sarah Menescal,
Jacques Brel,
Hasil Adkins,
Sun Ra Arkestra,
Dual Sessions,
The Fugs,
Iggy Pop,
The Five Americans,
Notorious Big And Bone Thugs,
Shuggie Otis,
Sonny Sharrock,
Monks,
Bad Manners,
Jesper Dahlbäck,
Adolescents,
Brick,
Amon Düül II,
Slave,
Jerry's Kids,
Man Eating Sloth,
The Fuzztones,
Scratch Acid,
Peter and Kerry,
cv313,
Gichy Dan,
Barbara Tucker,
Nick Fraelich,
Blancmange,
The Angels of Light,
Idris Muhammad,
The Sonics,
Reagan Youth,
DNA,
the Soft Cell,
Wasted Youth,
T.S.O.L.,
Piero Umiliani,
Hoover,
Gang Starr,
The Associates,
The Pop Group,
Goldenarms,
48th St. Collective,
Carl Craig,
Bronski Beat,
Boredoms,
Lou Reed, Lou Reed, Lou Reed, Lou Reed.
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.