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 Kosovo and from Tehran.
But I was there.
I was there in 1973.
I was there at the first Television 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 1961 to 1971.
I'm losing my edge.
To all the kids in Columbus and Hong Kong.
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 1984 at the first Arcadia practice in a loft in London.
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 Alphaville to the techno kids.
I played it at the Hacienda.
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 Severed Heads. All the underground hits.
All John Holt tracks. I heard you have a vinyl of every The Moleskins record on German import.
I heard that you have a white label of every seminal grunge 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 snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Connie Case record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
48th St. Collective,
The Dirtbombs,
Masters at Work,
Nirvana,
Suburban Knight,
The Cramps,
Alton Ellis,
Roxette,
Sarah Menescal,
Camberwell Now,
Rod Modell,
The Buckinghams,
The Move,
Fad Gadget,
The Cosmic Jokers,
Con Funk Shun,
Barry Ungar,
Echo & the Bunnymen,
Scientists,
Throbbing Gristle,
Harpers Bizarre,
Hardrive,
Cymande,
Excepter,
Minor Threat,
Underground Resistance,
Gabor Szabo,
FM Einheit,
Kauko Röyhkä ja Narttu,
Qualms,
Lindisfarne,
Echospace,
Khruangbin,
the Sonics,
the Soft Cell,
David McCallum,
L. Decosne,
John Holt,
Ken Boothe,
Sister Nancy,
Scott Walker + Sunn O))),
Boogie Down Productions,
Bill Wells,
Subhumans,
Drive Like Jehu,
Television,
Chris Corsano,
Juan Atkins,
The Men They Couldn't Hang,
Jerry's Kids,
John Coltrane,
Electric Prunes,
Reagan Youth,
Erasure,
kango's stein massive,
The United States of America,
John Foxx,
Newcleus,
Marc Almond,
De La Soul & Jungle Brothers,
Nik Kershaw,
Kerrie Biddell,
B.T. Express, B.T. Express, B.T. Express, B.T. Express.
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.