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 Lebanon and from Spokane.
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 1975.
I'm losing my edge.
To all the kids in Delhi and Beijing.
I'm losing my edge to the art-school Edmonton 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the 808 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 Livin' Joy to the techno kids.
I played it at the Crocodile.
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 DJ Style. All the underground hits.
All Fela Kuti tracks. I heard you have a vinyl of every Juan Atkins 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 '80s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Curtis Mayfield record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drive Like Jehu,
Nas,
Grauzone,
The Sound,
Crispy Ambulance,
Swans,
John Cale,
Livin' Joy,
Lungfish,
Ronan,
Dead Boys,
The Raincoats,
The Index,
Royal Trux,
The Wake,
B.T. Express,
Cluster,
The Victims,
The Searchers,
Idris Muhammad,
Chrome,
Bootsy's Rubber Band,
Essential Logic,
Tubeway Army,
Throbbing Gristle,
Maleditus Sound,
The Move,
Malaria!,
Delon & Dalcan,
Joe Smooth,
Hot Snakes,
Avey Tare & Kría Brekkan,
Joensuu 1685,
Isaac Hayes,
The Remains,
Scion,
Louis and Bebe Barron,
Saccharine Trust,
Television,
Manfred Mann's Earth Band,
Metal Thangz,
Richard Hell and the Voidoids,
Los Fastidios,
Sound Behaviour,
Thinking Fellers Union Local 282,
In Retrospect,
Kas Product,
La Düsseldorf,
DeepChord presents Echospace,
Cameo,
Bobby Byrd,
Camberwell Now,
Kool Moe Dee,
Rekid,
Junior Murvin,
Susan Cadogan,
The Fortunes,
Little Man,
Masters at Work,
Fat Boys,
The New Christs,
Nik Kershaw, Nik Kershaw, Nik Kershaw, Nik Kershaw.
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.