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 Malaysia and from Salvador.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Johannesburg and Salvador.
I'm losing my edge to the art-school Salvador 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 1983 at the first Lewis practice in a loft in Vancouver.
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 The Count Five to the crunk 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 Dave Gahan. All the underground hits.
All Gerry Rafferty tracks. I heard you have a vinyl of every The Men They Couldn't Hang record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Lakeside record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Loose Ends,
Lou Reed,
the Bar-Kays,
Archie Shepp,
Anakelly,
Stiv Bators,
Reagan Youth,
Ludus,
Rapeman,
Shoche,
The Residents,
Lower 48,
Amon Düül II,
Soulsonic Force,
UT,
Grauzone,
Jandek,
Morten Harket,
Gil Scott Heron,
The Toasters,
Dead Boys,
The Peanut Butter Conspiracy,
Quadrant,
Bobby Hutcherson,
Davy DMX,
The Flesh Eaters,
The Saints,
Sticky Fingaz feat. Raekwon,
Harry Pussy,
The Selecter,
Drive Like Jehu,
B.T. Express,
The Cosmic Jokers,
Piero Umiliani,
The Music Machine,
Camouflage,
Brothers Johnson,
Aaron Thompson,
X-101,
F. McDonald,
The Trojans,
Trumans Water,
Niagra,
Panda Bear,
Nico,
Scan 7,
Marc Romboy vs. Booka Shade,
John Foxx,
The Associates,
Bobby Byrd,
The Gladiators,
Art Ensemble Of Chicago,
Newcleus,
Derrick May,
Cluster,
Scratch Acid,
New York Dolls,
Selector Dub Narcotic,
Peter & Gordon,
Pete Rock & C.L. Smooth,
Nas,
Brand Nubian, Brand Nubian, Brand Nubian, Brand Nubian.
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.