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 Latvia and from Cairo.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1975.
I'm losing my edge.
To all the kids in Winnipeg and Lagos.
I'm losing my edge to the art-school Accra 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the chamberlin 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 Strawberry Alarm Clock to the techno kids.
I played it at the Roxy.
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 The Saints. All the underground hits.
All Jerry Gold Smith tracks. I heard you have a vinyl of every Soft Machine 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 '50s cut and another box set from the '70s.
I hear you're buying a guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Siouxsie and the Banshees record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Angels of Light & Akron/Family,
Wally Richardson,
Mission of Burma,
Sarah Menescal,
Röyhkä ja Rättö ja Lehtisalo,
Byron Stingily,
E-Dancer,
The Smiths,
The Fire Engines,
Cabaret Voltaire,
Gichy Dan,
Dead Boys,
Larry & the Blue Notes,
Arcadia,
Nico,
The Star Department,
Brass Construction,
Sly & The Family Stone,
Patti Smith,
Pylon,
The Doors,
Bobby Womack,
Roxy Music,
Howard Jones,
The Sonics,
Swell Maps,
KRS-One,
Sixth Finger,
Andrew Hill,
Quadrant,
Lou Christie,
Sun City Girls,
Lyres,
The J.B.'s,
Girls At Our Best!,
the Slits,
Mad Mike,
Inner City,
Hasil Adkins,
Shuggie Otis,
Popol Vuh,
Eric Copeland,
Tim Buckley,
The Walker Brothers,
Make Up,
Ronnie Foster,
Rod Modell,
The Toasters,
Bizarre Inc.,
Amazonics,
New York Dolls,
Ultimate Spinach,
Magazine,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Q and Not U,
Ponytail,
FM Einheit,
A Flock of Seagulls,
The Standells,
Maurizio,
Franke,
Q65,
Skarface, Skarface, Skarface, Skarface.
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.