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 Venezuela and from Lagos.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 Salvador and Edmonton.
I'm losing my edge to the art-school Delhi 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the 808 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 The Moleskins to the grunge kids.
I played it at CBGB's.
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 Crispian St. Peters. All the underground hits.
All The Detroit Cobras tracks. I heard you have a vinyl of every Rosa Yemen record on German import.
I heard that you have a white label of every seminal funk 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 güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Erasure record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Excepter,
Accadde A,
Cameo,
Alton Ellis,
Severed Heads,
Sad Lovers and Giants,
Scratch Acid,
the Bar-Kays,
The Doors,
MDC,
The Cosmic Jokers,
Idris Muhammad,
Jerry's Kids,
Oblivians,
Sly & The Family Stone,
New Order,
The Royal Family And The Poor,
Porter Ricks,
Yazoo,
Letta Mbulu,
Anthony Braxton,
The Walker Brothers,
Adolescents,
Don Cherry,
Gil Scott Heron,
Aswad,
Glambeats Corp.,
Johnny Osbourne,
Morten Harket,
The Monks,
Urselle,
Teenage Jesus and the Jerks,
Nick Fraelich,
Fear,
Funkadelic,
John Foxx,
Byron Stingily,
Terrestrial Tones,
Arab on Radar,
Aloha Tigers,
Ten City,
Sandy B,
Drive Like Jehu,
Au Pairs,
Red Lorry Yellow Lorry,
Marcia Griffiths,
Black Flag,
The Fire Engines,
David Axelrod,
Model 500,
Slick Rick,
Connie Case,
The Shadows of Knight,
Thee Headcoats,
Gastr Del Sol,
The Velvet Underground,
Sällskapet,
Rhythm & Sound,
The Cramps, The Cramps, The Cramps, The Cramps.
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.