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 Italy and from Tokyo.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Spokane and Lyon.
I'm losing my edge to the art-school Beijing 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the arpeggiator sounds with much patience.
I was there when Lou Reed 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 Cabaret Voltaire to the jazz kids.
I played it at Cafe Wha.
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 Wolf Eyes. All the underground hits.
All Cal Tjader tracks. I heard you have a vinyl of every Brothers Johnson 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 '60s cut and another box set from the '80s.
I hear you're buying a 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Dead Boys record.
I hear that you and your band have sold your sitar and bought a snare.
I hear that you and your band have sold your snare and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maleditus Sound,
Minnie Riperton,
Agitation Free,
John Holt,
Negative Approach,
The Sonics,
John Coltrane,
The Selecter,
Freddie Wadling,
The Cure,
Strawberry Alarm Clock,
The Victims,
Vaughan Mason & Crew,
Avey Tare's Slasher Flicks,
Jeru the Damaja,
Pharaoh Sanders and the Fire Engines,
The Gories,
Sunsets and Hearts,
Hardrive,
PIL,
Spoonie Gee,
Scratch Acid,
Tres Demented,
Camron Feat. Memphis Bleek And Beenie Seigel,
Tropical Tobacco,
Matthew Halsall,
Graham Central Station,
Crispian St. Peters,
John Foxx,
Rites of Spring,
Stockholm Monsters,
The Motions,
Mark Hollis,
Electric Prunes,
Bootsy's Rubber Band,
Joe Smooth,
Gil Scott Heron,
Stiv Bators,
L. Decosne,
Intrusion,
The Sisters of Mercy,
Leonard Cohen,
Visage,
Howard Jones,
Alice Coltrane,
Angry Samoans,
The Divine Comedy,
Pere Ubu,
Toni Rubio,
The Real Kids,
Slave,
Public Enemy,
Nils Olav,
Sonic Youth,
Cecil Taylor,
Guru Guru,
Whodini,
Junior Murvin,
Model 500,
Sun City Girls,
Albert Ayler,
Subhumans, Subhumans, Subhumans, Subhumans.
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.