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 Macedonia and from London.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1970.
I'm losing my edge.
To all the kids in Stockholm and Mexico City.
I'm losing my edge to the art-school Cairo 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 Dual Sessions to the techno kids.
I played it at CBGB's.
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 X-Ray Spex. All the underground hits.
All Siglo XX tracks. I heard you have a vinyl of every The Fuzztones 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 '70s cut and another box set from the '80s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Roxette record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes 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?
Arthur Verocai,
Blancmange,
Royal Trux,
Franke,
Aaron Thompson,
Silicon Teens,
Severed Heads,
Hasil Adkins,
Danielle Patucci,
Ralphi Rosario,
Howard Jones,
Harry Pussy,
Pharaoh Sanders and the Fire Engines,
Aloha Tigers,
Stetsasonic,
Quantec,
The Pop Group,
Gang Gang Dance,
Rotary Connection,
The Durutti Column,
PIL,
London Community Gospel Choir,
Mr. Review,
Maleditus Sound,
Brick,
Barry Ungar,
The Stooges,
The Gun Club,
MC5,
Zero Boys,
Delon & Dalcan,
the Normal,
Qualms,
The Last Poets,
KRS-One,
The New Christs,
June Days,
Orchestral Manoeuvres in the Dark,
Soft Cell,
Theoretical Girls,
Tears for Fears,
The Doors,
Jerry's Kids,
Slave,
Quando Quango,
Magazine,
Shoche,
Lou Reed & Metallica,
Sällskapet,
Underground Resistance,
Amon Düül,
The Pretty Things,
Joe Finger,
Grey Daturas,
The Misunderstood,
Q65,
Cabaret Voltaire,
The Fugs,
The Fortunes,
Kauko Röyhkä ja Narttu,
Ultra Naté,
Crooked Eye,
Cameo,
Grauzone, Grauzone, Grauzone, Grauzone.
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.