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 Belize and from Copenhagen.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Lille.
I'm losing my edge to the art-school Tokyo 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the oboe 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 The Dirtbombs to the disco 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 Main Source. All the underground hits.
All Peter & Gordon tracks. I heard you have a vinyl of every Infiniti 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 spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Thompson Twins record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Niagra,
Kaleidoscope,
Cameo,
Roy Ayers Ubiquity,
The Vogues,
The Beau Brummels,
It's A Beautiful Day,
Roxy Music,
The Doobie Brothers,
The Selecter,
Pantaleimon,
Boogie Down Productions,
JFA,
The Dirtbombs,
June of 44,
Yusef Lateef,
Camberwell Now,
Main Source,
Josef K,
James White and The Blacks,
Faraquet,
Roger Hodgson,
Minor Threat,
Gian Franco Pienzio,
Eric B and Rakim,
Amon Düül,
Slave,
Richard Hell and the Voidoids,
Man Parrish,
Eurythmics,
Amon Düül II,
Super Lover Cee & Casanova Rud,
James Chance & The Contortions,
Skarface,
Leonard Cohen,
Siouxsie and the Banshees,
The Gun Club,
Brass Construction,
The Remains,
Bill Near,
Mission of Burma,
The Jesus and Mary Chain,
Piero Umiliani,
Radiohead,
Alton Ellis,
D'Angelo,
Technova,
Dennis Brown,
Matthew Halsall,
Scratch Acid,
The Saints,
Wire,
Gichy Dan,
Gong,
Japan,
John Cale,
The Misunderstood,
Sixth Finger,
Mad Mike,
The Evens,
The Seeds,
Television,
Black Pus, Black Pus, Black Pus, Black Pus.
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.