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 Austria and from Glasgow.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1960 to 1976.
I'm losing my edge.
To all the kids in Sao Paulo and Cairo.
I'm losing my edge to the art-school Stockholm 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 guitar 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 Names to the techno 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 Warren Ellis. All the underground hits.
All Radiohead tracks. I heard you have a vinyl of every Scott Walker + Sunn O))) record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Guru Guru record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacob Miller,
Dead Boys,
Sällskapet,
Arab on Radar,
Blossom Toes,
Aswad,
Lyres,
Tim Buckley,
F. McDonald,
Camron Feat. Memphis Bleek And Beenie Seigel,
Metal Thangz,
Kenny Larkin,
Ultramagnetic MC's,
EPMD,
The Sonics,
The Birthday Party,
Minutemen,
Toni Rubio,
E-Dancer,
Fatback Band,
The Velvet Underground,
Teenage Jesus and the Jerks,
DJ Style,
X-101,
The Buckinghams,
Flipper,
Lou Reed & Metallica,
The United States of America,
John Lydon,
A Certain Ratio,
One Last Wish,
a-ha,
Guru Guru,
Throbbing Gristle,
Barclay James Harvest,
Oblivians,
Fat Boys,
Wire,
Harmonia,
Ronnie Foster,
Scientists,
Franke,
Faust,
Black Sheep,
Gil Scott Heron,
Nico,
48th St. Collective,
The Leaves,
the Germs,
Mandrill,
Bobby Womack,
Pagans,
Masters at Work,
The Toasters,
Scrapy,
Joe Smooth,
R.M.O.,
Ultra Naté,
Oppenheimer Analysis,
Deutsch Amerikanische Freundschaft,
Magazine,
The Pop Group,
Adolescents, Adolescents, Adolescents, Adolescents.
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.