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 Burundi and from New York.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Milan and Jakarta.
I'm losing my edge to the art-school Delhi 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 2001 at the first Tiga practice in a loft in Montreal.
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 Tres Demented to the funk 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 MDC. All the underground hits.
All One Last Wish tracks. I heard you have a vinyl of every Theoretical Girls record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Gang Gang Dance record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Intrusion,
Glambeats Corp.,
Lebanon Hanover,
Junior Murvin,
The Residents,
The Toasters,
Ohio Players,
Morten Harket,
Mo-Dettes,
Khruangbin,
Harpers Bizarre,
Babytalk,
Ituana,
Tom Boy,
The Modern Lovers,
These Immortal Souls,
Kas Product,
Buzzcocks,
UT,
Gian Franco Pienzio,
Country Joe & The Fish,
Soft Cell,
Brass Construction,
Sound Behaviour,
Minor Threat,
Barclay James Harvest,
Dawn Penn,
Youth Brigade,
Grauzone,
Oblivians,
The Techniques,
Arcadia,
James White and The Blacks,
10cc,
Clear Light,
David Axelrod,
Kerrie Biddell,
Fifty Foot Hose,
Mandrill,
Mark Hollis,
Marmalade,
Lightning Bolt,
Model 500,
Wire,
Sun Ra,
Alphaville,
Minny Pops,
Symarip,
Black Moon,
Masters at Work,
June of 44,
The Last Poets,
DJ Style,
Archie Shepp,
Bluetip,
Banda Bassotti,
Gregory Isaacs,
Blancmange,
Oneida,
Joey Negro,
The Pretty Things,
Josef K,
Jeru the Damaja,
Jacques Brel,
Theoretical Girls, Theoretical Girls, Theoretical Girls, Theoretical Girls.
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.