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 Antigua and from New York.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Mexico City and London.
I'm losing my edge to the art-school Madrid 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 at the first Suicide practice in a loft in New York.
I was working on the guitar sounds with much patience.
I was there when Michael McDonald 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 Motorama to the techno kids.
I played it at the Astoria.
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 Dennis Brown. All the underground hits.
All Gary Puckett & The Union Gap tracks. I heard you have a vinyl of every The Alarm Clocks record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Moby Grape record.
I hear that you and your band have sold your theremin and bought a marimba.
I hear that you and your band have sold your marimba and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New York Dolls,
Heavy D & The Boyz,
Chris Corsano,
Lou Reed & John Cale,
Sugar Minott,
the Soft Cell,
Richard Hell and the Voidoids,
Peter and Kerry,
Fifty Foot Hose,
Robert Hood,
Groovy Waters,
Gil Scott Heron,
Radio Birdman,
Unwound,
Gregory Isaacs,
Cheater Slicks,
Stereo Dub,
Gian Franco Pienzio,
The Shadows of Knight,
Juan Atkins,
Black Bananas,
Lucky Dragons,
Lonnie Liston Smith,
Siglo XX,
Ohio Players,
Grey Daturas,
Dennis Brown,
Zero Boys,
Rowland S Howard / Lydia Lunch,
De La Soul & Jungle Brothers,
Lou Reed & Metallica,
The Martian,
Tomorrow,
Angels of Light & Akron/Family,
Slave,
Brand Nubian,
The Wake,
The New Christs,
Notorious Big And Bone Thugs,
Alice Coltrane,
Black Flag,
Teenage Jesus and the Jerks,
8 Eyed Spy,
Pantaleimon,
The Residents,
The Dead C,
Camouflage,
Hardrive,
Tom Boy,
Eric B and Rakim,
Skriet,
Absolute Body Control,
Bob Dylan,
Tim Buckley,
Lyres,
Country Joe & The Fish,
David McCallum,
Darondo,
Michelle Simonal,
Marine Girls,
Gerry Rafferty,
The Misunderstood,
T.S.O.L.,
Neil Young & Crazy Horse, Neil Young & Crazy Horse, Neil Young & Crazy Horse, Neil Young & Crazy Horse.
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.