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 Georgia and from Madrid.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Seoul and Copenhagen.
I'm losing my edge to the art-school Manila 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 guitar sounds with much patience.
I was there when Holger Czukay 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 Sexual Harrassment to the rock kids.
I played it at Trash.
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 Dead Boys. All the underground hits.
All The Cramps tracks. I heard you have a vinyl of every Lou Reed & John Cale record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Sisters of Mercy record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick May,
Vainqueur,
Robert Görl,
Kango’s Stein Massive,
Agitation Free,
The Pop Group,
Lower 48,
Von Mondo,
Deepchord,
Laurel Aitken,
Sparks,
Black Bananas,
Delon & Dalcan,
Minutemen,
Connie Case,
Ludus,
E-Dancer,
The Smoke,
The Detroit Cobras,
Girls At Our Best!,
Clear Light,
ABBA,
Gichy Dan,
The Trojans,
Judy Mowatt,
B.T. Express,
Man Parrish,
Ponytail,
Robert Hood,
Donald Byrd,
The West Coast Pop Art Experimental Band,
Quantec,
Piero Umiliani,
Chris & Cosey,
Yazoo,
Harry Pussy,
The Red Krayola,
The Fall,
PIL,
The Toasters,
Warsaw,
The Shadows of Knight,
Johnny Clarke,
Gong,
Interpol,
Heavy D & The Boyz,
Dorothy Ashby,
Japan,
Nas,
Crime,
The Moody Blues,
Black Pus,
Little Man,
Matthew Bourne,
Ten City,
Johnny Osbourne,
Godley & Creme,
Bad Manners,
Mo-Dettes,
Can,
Stiv Bators, Stiv Bators, Stiv Bators, Stiv Bators.
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.