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 Marshall Islands and from London.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Seoul and Bologna.
I'm losing my edge to the art-school Mumbai 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the guitar sounds with much patience.
I was there when Michael McDonald 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 Jacob Miller to the techno 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 Standells. All the underground hits.
All Al Stewart tracks. I heard you have a vinyl of every Supertramp record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & Metallica,
Liliput,
Lou Reed,
Severed Heads,
The Slackers,
The Music Machine,
Henry Cow,
Neil Young & Crazy Horse,
Carl Craig,
Circle Jerks,
Blancmange,
The Invisible,
Second Layer,
Kenny Larkin,
Tommy Roe,
Harmonia,
Ohio Players,
EPMD,
OOIOO,
Avey Tare & Kría Brekkan,
Q65,
Albert Ayler,
T.S.O.L.,
Sarah Menescal,
The Sisters of Mercy,
The Saints,
Magazine,
Fat Boys,
Ultramagnetic MC's,
Thinking Fellers Union Local 282,
Heavy D & The Boyz,
The Fall,
Parry Music,
The Litter,
Yaz,
Davy DMX,
James White and The Blacks,
The Moody Blues,
Make Up,
June of 44,
Radiohead,
Zapp,
Roxette,
Pole,
kango's stein massive,
X-102,
The Residents,
the Soft Cell,
Heaven 17,
T. Rex,
Gregory Isaacs,
Joey Negro,
The Misunderstood,
Al Stewart,
New Age Steppers,
Dead Boys,
Brand Nubian,
The Techniques,
Lindisfarne,
The Doobie Brothers,
Andrew Hill,
Q and Not U,
Beasts of Bourbon,
Basic Channel, Basic Channel, Basic Channel, Basic Channel.
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.