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 Liberia and from Hong Kong.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Johannesburg and Copenhagen.
I'm losing my edge to the art-school Seoul 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 1973 at the first Television practice in a loft in New York.
I was working on the linndrum 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 Vaughan Mason & Crew to the funk kids.
I played it at Trash.
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 Kas Product. All the underground hits.
All The Detroit Cobras tracks. I heard you have a vinyl of every Vladislav Delay record on German import.
I heard that you have a white label of every seminal crunk 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 güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Sex Pistols record.
I hear that you and your band have sold your spring reverb and bought an organ.
I hear that you and your band have sold your organ 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?
Soul II Soul,
Peter Gordon & Love of Life Orchestra,
Crispy Ambulance,
Notorious Big And Bone Thugs,
The Star Department,
Kango’s Stein Massive,
Lakeside,
Royal Trux,
Todd Rundgren,
Matthew Halsall,
the Human League,
Marmalade,
Bobby Hutcherson,
June of 44,
Susan Cadogan,
Flash Fearless,
Siouxsie and the Banshees,
Electric Prunes,
Bobby Womack,
Amon Düül,
Little Man,
Grandmaster Flash and the Furious Five,
Boredoms,
Crooked Eye,
Faraquet,
Black Flag,
Albert Ayler,
Andrew Hill,
James White and The Blacks,
Archie Shepp,
Barbara Tucker,
The Standells,
Neil Young,
Deakin,
the Slits,
Johnny Osbourne,
Bootsy Collins,
Silicon Teens,
Kings Of Tomorrow,
The Index,
Joyce Sims,
Public Enemy,
Prince Buster,
Moebius,
Fear,
Au Pairs,
Loose Ends,
Harmonia,
The Mojo Men,
Circle Jerks,
Q and Not U,
Amazonics,
Minny Pops,
Pete Rock & C.L. Smooth,
The Stooges,
Public Image Ltd.,
Amon Düül II,
The Velvet Underground,
Lee Hazlewood,
Grauzone,
Motorama, Motorama, Motorama, Motorama.
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.