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 Belgium and from Stockholm.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Seoul and Accra.
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 1973 at the first Television practice in a loft in New York.
I was working on the rhodes 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 Ultravox to the disco kids.
I played it at the Troubador.
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 Swans. All the underground hits.
All Louis and Bebe Barron tracks. I heard you have a vinyl of every Sällskapet 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 '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Richard Hell and the Voidoids record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
EPMD,
The Music Machine,
Kurtis Blow,
Visionaries,LMNO, T- Love & Iriscience,
One Last Wish,
The Standells,
DeepChord presents Echospace,
Half Japanese,
The Gun Club,
the Swans,
Harry Pussy,
Peter Gordon & Love of Life Orchestra,
Lalann,
Man Eating Sloth,
The Electric Prunes,
the Soft Cell,
the Human League,
Sällskapet,
Procol Harum,
The Mummies,
Laurel Aitken,
James White and The Blacks,
Sonny Sharrock,
The Barracudas,
Shoche,
The Martian,
Big Daddy Kane,
Amazonics,
Theoretical Girls,
The Blues Magoos,
Soft Cell,
Khruangbin,
The Tremeloes,
Connie Case,
Scion,
Essential Logic,
Country Joe & The Fish,
The Cowsills,
Au Pairs,
Barry Ungar,
Ken Boothe,
Faust,
Pylon,
Bronski Beat,
Davy DMX,
The Busters,
Andrew Ashong & Theo Parrish,
Dawn Penn,
The Fuzztones,
Ituana,
Terry Callier,
The Star Department,
Joe Smooth,
The Motions,
Archie Shepp,
Brass Construction,
Darondo,
The Golliwogs,
Crooked Eye,
Outsiders,
Sister Nancy,
The Jesus and Mary Chain,
Mantronix, Mantronix, Mantronix, Mantronix.
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.