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 France and from Winnipeg.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Woodstock and Lagos.
I'm losing my edge to the art-school Lagos 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the theremin 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 Judy Mowatt to the punk kids.
I played it at the 40 Watt.
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 Tomorrow. All the underground hits.
All Grandmaster Flash tracks. I heard you have a vinyl of every Little Man record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Glenn Branca record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Massinfluence,
Shoche,
Mark Hollis,
Agitation Free,
Dave Gahan,
Siglo XX,
Siouxsie and the Banshees,
Dual Sessions,
Joe Finger,
the Germs,
James White and The Blacks,
Amazonics,
The Fire Engines,
The Flesh Eaters,
Vladislav Delay,
The Alarm Clocks,
Throbbing Gristle,
Main Source,
Unrelated Segments,
The Pop Group,
Zero Boys,
Selector Dub Narcotic,
The Beau Brummels,
The Moleskins,
Lee Hazlewood,
X-101,
EPMD,
Dennis Brown,
The J.B.'s,
Hot Snakes,
Bush Tetras,
Oneida,
Lalann,
Lucky Dragons,
Chris Corsano,
The Men They Couldn't Hang,
The Slits,
Jerry Gold Smith,
Liliput,
Brick,
Minutemen,
Audionom,
Dead Boys,
Heaven 17,
The Fuzztones,
Los Fastidios,
Neil Young & Crazy Horse,
Pierre Henry,
Cabaret Voltaire,
The Stooges,
Flamin' Groovies,
Strawberry Alarm Clock,
Terrestrial Tones,
Harmonia,
Henry Cow,
Trumans Water,
Kango’s Stein Massive,
Masters at Work,
Sight & Sound,
Soul II Soul,
Marmalade,
Röyhkä ja Rättö ja Lehtisalo,
The Neon Judgement,
Depeche Mode, Depeche Mode, Depeche Mode, Depeche Mode.
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.