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 Bangladesh and from Woodstock.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Manila and Beijing.
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 1976 at the first Chic practice in a loft in New York.
I was working on the linndrum 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 Negative Approach to the techno kids.
I played it at the Roxy.
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 Robert Wyatt. All the underground hits.
All Country Joe & The Fish tracks. I heard you have a vinyl of every The Tremeloes 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 '70s.
I hear you're buying a 808 and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Eyeless In Gaza record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Susan Cadogan,
The Gun Club,
Ultimate Spinach,
Main Source,
Urselle,
Eli Mardock,
The Buckinghams,
Theoretical Girls,
Max Romeo,
The Birthday Party,
Absolute Body Control,
The Alarm Clocks,
Lou Reed & John Cale,
Super Lover Cee & Casanova Rud,
The Beau Brummels,
Neu!,
Beasts of Bourbon,
Kenny Larkin,
Hardrive,
The Neon Judgement,
the Association,
Public Image Ltd.,
Sex Pistols,
Swell Maps,
Cecil Taylor,
Das Ding,
Mary Jane Girls,
Television Personalities,
Nils Olav,
Liaisons Dangereuses,
Duran Duran,
Bootsy Collins,
The Music Machine,
MC5,
Underground Resistance,
Young Marble Giants,
F. McDonald,
Barry Ungar,
Nick Fraelich,
Zero Boys,
Eric Copeland,
Grey Daturas,
Ice-T,
Erykah Badu,
Kool Moe Dee,
Agitation Free,
Ten City,
Radiohead,
Byron Stingily,
The Grass Roots,
The Moleskins,
Fat Boys,
The Raincoats,
Bluetip,
Grandmaster Flash,
Fatback Band,
Electric Prunes,
Talk Talk,
Metal Thangz,
Jacques Brel,
Marshall Jefferson,
The Victims, The Victims, The Victims, The Victims.
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.