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 Ecuador and from Lyon.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Johannesburg and Spokane.
I'm losing my edge to the art-school Bologna 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 mellotron 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 Derrick May to the rock kids.
I played it at the Crocodile.
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 Dual Sessions. All the underground hits.
All Eurythmics tracks. I heard you have a vinyl of every DNA record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a rhodes 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 guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Detroit Cobras,
Malaria!,
Mr. Review,
Marc Almond,
John Cale,
Todd Rundgren,
Barclay James Harvest,
Procol Harum,
Eurythmics,
Arthur Verocai,
Spandau Ballet,
CMW,
Leonard Cohen,
Sam Rivers,
Public Enemy,
The Residents,
Gian Franco Pienzio,
Unwound,
AZ,
Public Image Ltd.,
The Star Department,
Angry Samoans,
Al Stewart,
Boogie Down Productions,
Bizarre Inc.,
Hasil Adkins,
The Selecter,
James Chance & The Contortions,
Niagra,
The Durutti Column,
Brick,
Glenn Branca,
Neu!,
Bang On A Can,
Severed Heads,
Nas,
Barry Ungar,
Gang Green,
Ludus,
The Peanut Butter Conspiracy,
Half Japanese,
Terror Squad Feat. Camron,
Quadrant,
The Barracudas,
Susan Cadogan,
Make Up,
Eddi Front,
The Searchers,
Michelle Simonal,
The Tremeloes,
the Fania All-Stars,
Intrusion,
Wally Richardson,
Young Marble Giants,
Reuben Wilson,
Model 500,
The Cramps,
The Knickerbockers,
the Human League,
H. Thieme,
The Move,
Robert Görl,
The Techniques,
La Düsseldorf, La Düsseldorf, La Düsseldorf, La Düsseldorf.
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.