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 Liberia and from Philadelphia.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Manchester and Columbus.
I'm losing my edge to the art-school Bremen 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 linndrum 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 Basic Channel to the grunge kids.
I played it at Cafe Wha.
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 Lou Reed & Metallica. All the underground hits.
All Radio Birdman tracks. I heard you have a vinyl of every Gil Scott-Heron & Brian Jackson 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 '70s.
I hear you're buying an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Dark Day record.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Infiniti,
Easy Going,
Unrelated Segments,
Pole,
Whodini,
Magazine,
Crooked Eye,
Rod Modell,
KRS-One,
Mark Hollis,
The Real Kids,
Neil Young & Crazy Horse,
Larry & the Blue Notes,
Faraquet,
Grandmaster Flash,
Soft Machine,
Sun Ra Arkestra,
Todd Rundgren,
Inner City,
Deakin,
The Gap Band,
Lalo Schifrin,
Tim Buckley,
The Dead C,
Das Ding,
Morten Harket,
Fad Gadget,
Shuggie Otis,
The Skatalites,
Ultra Naté,
The Dirtbombs,
Steve Hackett,
The Index,
The Barracudas,
AZ,
Peter and Kerry,
Boredoms,
The Move,
Stockholm Monsters,
Ash Ra Tempel,
Erykah Badu,
Grauzone,
Gil Scott-Heron and Jamie xx,
In Retrospect,
The Chocolate Watch Band,
The Trojans,
Aural Exciters,
Intrusion,
Circle Jerks,
Young Marble Giants,
Absolute Body Control,
Ice-T,
The Happenings,
New Order,
Kayak,
Peter & Gordon,
Qualms,
Sunsets and Hearts,
Massinfluence,
Gil Scott Heron,
48th St. Collective, 48th St. Collective, 48th St. Collective, 48th St. Collective.
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.