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 Barbados and from Lille.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1961 to 1971.
I'm losing my edge.
To all the kids in Taipei and Glasgow.
I'm losing my edge to the art-school Toronto 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the sitar 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 Lou Christie to the jazz 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 Harpers Bizarre. All the underground hits.
All Throbbing Gristle tracks. I heard you have a vinyl of every The Alarm Clocks 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 '90s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Tommy Roe 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?
Toni Rubio,
The Chocolate Watch Band,
Marcia Griffiths,
The Velvet Underground,
Throbbing Gristle,
The Gories,
Black Flag,
Janne Schatter,
The Cure,
Deepchord,
Supertramp,
The Gladiators,
Amon Düül II,
Ornette Coleman,
Icehouse,
Dr. Dre and Snoop Doggy Dog,
Shoche,
Gabor Szabo,
Lou Reed,
Judy Mowatt,
Thee Headcoats,
The Happenings,
Ossler,
Flash Fearless,
Monolake,
Gastr Del Sol,
New York Dolls,
Soft Cell,
Lee Hazlewood,
Sonic Youth,
Maleditus Sound,
Max Romeo,
Echospace,
Lower 48,
B.T. Express,
Major Organ And The Adding Machine,
John Cale,
Donald Byrd,
The Mummies,
Rhythm & Sound,
Second Layer,
Aswad,
Rosa Yemen,
The Barracudas,
Eden Ahbez,
The Blackbyrds,
Ronnie Foster,
The Evens,
Ohio Players,
Public Enemy,
Kool G Rap & DJ Polo,
Orchestral Manoeuvres in the Dark,
James Chance & The Contortions,
Hot Snakes,
MDC,
Frankie Knuckles,
DNA,
The Invisible,
The Dave Clark Five,
Stereo Dub,
The Detroit Cobras,
Man Eating Sloth, Man Eating Sloth, Man Eating Sloth, Man Eating Sloth.
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.