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 Syria and from Stockholm.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Spokane and Manchester.
I'm losing my edge to the art-school Cairo 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the rhodes sounds with much patience.
I was there when Lou Reed 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 Minutemen to the techno kids.
I played it at the Spitz.
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 Stiv Bators. All the underground hits.
All The Mummies tracks. I heard you have a vinyl of every The Motions 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 '70s cut and another box set from the '70s.
I hear you're buying a 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang Gang Dance,
Terrestrial Tones,
Bobbi Humphrey,
Monolake,
The Dead C,
Scratch Acid,
Blossom Toes,
Hasil Adkins,
Cameo,
Gang of Four,
Black Sheep,
Röyhkä ja Rättö ja Lehtisalo,
Severed Heads,
Slave,
The Smoke,
The Cure,
Kings Of Tomorrow,
Gary Puckett & The Union Gap,
Man Eating Sloth,
The Cramps,
Boredoms,
Country Teasers,
Procol Harum,
Warsaw,
Robert Görl,
The Young Rascals,
The Dirtbombs,
Stereo Dub,
Gang Green,
Derrick May,
Avey Tare,
Skaos,
Dual Sessions,
Todd Terry,
Crime,
Beasts of Bourbon,
Mad Mike,
PIL,
Harpers Bizarre,
Neil Young,
Wally Richardson,
June of 44,
Public Enemy,
Gerry Rafferty,
Lonnie Liston Smith,
Radiohead,
Crispy Ambulance,
The Divine Comedy,
Spandau Ballet,
The Gladiators,
James Chance & The Contortions,
Barry Ungar,
These Immortal Souls,
The American Breed,
Radiopuhelimet,
Japan,
Fear,
Don Cherry,
Loose Ends,
Grey Daturas,
Jacob Miller,
Traffic Nightmare,
The Flesh Eaters, The Flesh Eaters, The Flesh Eaters, The Flesh Eaters.
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.