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 Cameroon and from Madrid.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Shanghai and Manila.
I'm losing my edge to the art-school Edmonton 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 sitar sounds with much patience.
I was there when Donald Fagen 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 Chris Corsano to the dance 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 John Cale. All the underground hits.
All Theoretical Girls tracks. I heard you have a vinyl of every Idris Muhammad record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Sällskapet record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Christie,
Ludus,
Lungfish,
Los Fastidios,
Idris Muhammad,
Black Bananas,
Grandmaster Flash,
Minnie Riperton,
Sight & Sound,
The Fugs,
The Happenings,
Black Pus,
Radio Birdman,
Boogie Down Productions,
Make Up,
Alison Limerick,
Roxy Music,
Chris Corsano,
Sex Pistols,
Depeche Mode,
Index,
Procol Harum,
The Gap Band,
Moby Grape,
Teenage Jesus and the Jerks,
CMW,
David McCallum,
The Seeds,
Dr. Dre and Snoop Doggy Dog,
Interpol,
Tom Boy,
Peter and Kerry,
The Stooges,
Rakim,
Dark Day,
Bobby Womack,
Gary Puckett & The Union Gap,
The United States of America,
Josef K,
John Lydon,
Bobby Byrd,
Rhythm & Sound,
Bobbi Humphrey,
Avey Tare & Kría Brekkan,
Liliput,
Metal Thangz,
Godley & Creme,
Black Moon,
The Gun Club,
Animal Collective,
The Buckinghams,
Amon Düül II,
Altered Images,
Leonard Cohen,
Bush Tetras,
Notorious Big And Bone Thugs,
Loose Ends,
Beasts of Bourbon,
Robert Hood,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.