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 St Lucia and from Columbus.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Manchester and Accra.
I'm losing my edge to the art-school Hong Kong 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 1976 at the first Feelies practice in a loft in Haledon.
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 Kevin Saunderson to the punk 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 Bang On A Can. All the underground hits.
All Lebanon Hanover tracks. I heard you have a vinyl of every Icehouse record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Music Machine,
The Doobie Brothers,
DJ Style,
The Smoke,
The Neon Judgement,
Brick,
Rotary Connection,
Kerrie Biddell,
Amon Düül,
The Offenders,
Drive Like Jehu,
Ludus,
48th St. Collective,
Stockholm Monsters,
John Cale,
Urselle,
Kings Of Tomorrow,
Mark Hollis,
Skarface,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Sugar Minott,
Chrome,
Grauzone,
Brand Nubian,
Peter and Kerry,
The Divine Comedy,
Fear,
Sight & Sound,
LL Cool J,
Motorama,
The Mojo Men,
The Moody Blues,
Gabor Szabo,
Ten City,
Monks,
Goldenarms,
FM Einheit,
Gil Scott Heron,
The Vogues,
Neil Young & Crazy Horse,
Mission of Burma,
World's Most,
Boredoms,
Suicide,
The Busters,
the Slits,
The Slits,
Danielle Patucci,
The Monks,
Archie Shepp,
MC5,
Funky Four + One,
The Mummies,
Donny Hathaway,
Notorious BIG live in Amsterdam,
Kauko Röyhkä ja Narttu,
Lou Christie,
Qualms,
Ornette Coleman,
Bauhaus,
Wasted Youth,
X-101, X-101, X-101, X-101.
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.