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 Ecuador and from Philadelphia.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1963 to 1973.
I'm losing my edge.
To all the kids in New York and Manchester.
I'm losing my edge to the art-school Madrid 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 chamberlin 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 Vladislav Delay to the punk kids.
I played it at the Hacienda.
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 Cure. All the underground hits.
All Cheater Slicks tracks. I heard you have a vinyl of every Rowland S Howard / Lydia Lunch record on German import.
I heard that you have a white label of every seminal electroclash 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 guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Procol Harum 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?
Black Pus,
Colin Newman,
Vladislav Delay,
Franke,
Derrick May,
Country Joe & The Fish,
Vainqueur,
Clear Light,
Throbbing Gristle,
Eric Dolphy,
The Zeros,
Model 500,
Avey Tare & Kría Brekkan,
Leonard Cohen,
Crime,
Glenn Branca,
F. McDonald,
Sight & Sound,
Bang on a Can All-Stars,
The Cramps,
Boredoms,
Roger Hodgson,
Janne Schatter,
Lower 48,
In Retrospect,
Porter Ricks,
Pharoah Sanders,
Sly & The Family Stone,
Bobby Byrd,
Warren Ellis,
X-102,
Hashim,
The Raincoats,
The Dead C,
Arab on Radar,
Young Marble Giants,
Lucky Dragons,
Bootsy Collins,
The Birthday Party,
Dead Boys,
The Smoke,
Unrelated Segments,
Magma,
Reuben Wilson,
Sun Ra Arkestra,
Hasil Adkins,
Grandmaster Flash and the Furious Five,
The Trojans,
Popol Vuh,
Teenage Jesus and the Jerks,
Röyhkä ja Rättö ja Lehtisalo,
The Mojo Men,
Metal Thangz,
The Cure,
Kerri Chandler,
Massinfluence,
Theoretical Girls,
Lightning Bolt,
D'Angelo,
Angels of Light & Akron/Family,
Suicide,
Robert Hood,
Max Romeo, Max Romeo, Max Romeo, Max Romeo.
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.