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 Angola and from Philadelphia.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Winnipeg and Johannesburg.
I'm losing my edge to the art-school Portland 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the theremin 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 Unrelated Segments to the punk kids.
I played it at the Hacienda.
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 Kango’s Stein Massive. All the underground hits.
All Jawbox tracks. I heard you have a vinyl of every Scratch Acid record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Jesus and Mary Chain 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?
Magazine,
The Star Department,
Crime,
A Certain Ratio,
Ohio Players,
Pharaoh Sanders and the Fire Engines,
EPMD,
Dark Day,
Gabor Szabo,
Grandmaster Flash,
Rhythim Is Rhythim,
Lou Reed & Metallica,
Smog,
Gastr Del Sol,
Ultimate Spinach,
The Remains,
Jimmy McGriff,
Gil Scott-Heron & Brian Jackson,
The Pop Group,
K-Klass,
Jandek,
Al Stewart,
Neu!,
New Order,
Barry Ungar,
Marmalade,
Bad Manners,
Sällskapet,
The Pretty Things,
Bill Near,
DJ Style,
Scratch Acid,
Con Funk Shun,
Inner City,
Slick Rick,
Marshall Jefferson,
Zapp,
Fugazi,
Faraquet,
Soul Sonic Force,
Kango’s Stein Massive,
Rahsaan Roland Kirk,
the Fania All-Stars,
Sticky Fingaz feat. Raekwon,
The Alarm Clocks,
Kenny Larkin,
Minor Threat,
Sight & Sound,
A Flock of Seagulls,
Moby Grape,
Model 500,
Isaac Hayes,
Ten City,
Lou Reed,
Anakelly,
Young Marble Giants,
Peter & Gordon,
Delta 5,
kango's stein massive,
The United States of America,
Pole,
Freddie Wadling,
Ultramagnetic MC's,
The Blackbyrds, The Blackbyrds, The Blackbyrds, The Blackbyrds.
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.