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 Denmark and from Tokyo.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1972.
I'm losing my edge.
To all the kids in Glasgow and Mexico City.
I'm losing my edge to the art-school Mumbai 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 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 The Sonics to the grunge kids.
I played it at the Spitz.
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 Unrelated Segments. All the underground hits.
All Unrelated Segments tracks. I heard you have a vinyl of every The Birthday Party 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 '70s cut and another box set from the '80s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nico,
Main Source,
Rekid,
Bluetip,
UT,
B.T. Express,
The Monks,
Girls At Our Best!,
Steve Hackett,
Skriet,
The Sound,
Richard Hell and the Voidoids,
Sun Ra,
Kas Product,
Arab on Radar,
Lebanon Hanover,
Groovy Waters,
Jeff Mills,
Cameo,
Gang Gang Dance,
Procol Harum,
Jesper Dahlbäck,
Massinfluence,
Liaisons Dangereuses,
Smog,
Ossler,
Scrapy,
Crash Course in Science,
Slick Rick,
Underground Resistance,
Lizzy Mercier Descloux,
Piero Umiliani,
Icehouse,
The Mojo Men,
Lee Hazlewood,
The Blues Magoos,
Dead Boys,
Mandrill,
A Certain Ratio,
Rhythm & Sound,
Peter & Gordon,
Terrestrial Tones,
Sandy B,
N.O.R.E. Featuring Pharrell,
the Swans,
Echo & the Bunnymen,
E-Dancer,
Ash Ra Tempel,
Hardrive,
the Normal,
the Association,
Roger Hodgson,
Barbara Tucker,
Stockholm Monsters,
Throbbing Gristle,
Janne Schatter,
The Techniques,
Black Moon,
Niagra,
The Kinks,
Johnny Osbourne,
The Fortunes,
Supertramp,
Intrusion,
Inner City, Inner City, Inner City, Inner City.
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.