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 Seychelles and from Philadelphia.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1975.
I'm losing my edge.
To all the kids in Manila and Beijing.
I'm losing my edge to the art-school Shanghai 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 1978 at the first Visage practice in a loft in London.
I was working on the arpeggiator 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 Rod Modell to the electroclash kids.
I played it at Trash.
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 Kevin Saunderson. All the underground hits.
All Steve Hackett tracks. I heard you have a vinyl of every the Association 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 '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Eric Copeland record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Slits,
Curtis Mayfield,
Donald Byrd,
Wasted Youth,
8 Eyed Spy,
The Index,
Gong,
Agent Orange,
Q and Not U,
The Black Dice,
JFA,
Andrew Hill,
The Litter,
The Knickerbockers,
John Foxx,
Talk Talk,
Jimmy McGriff,
Bobby Sherman,
Charles Mingus,
Livin' Joy,
The Fall,
Altered Images,
Symarip,
The Happenings,
Jeff Mills,
Strawberry Alarm Clock,
Yazoo,
Bill Wells,
Flash Fearless,
Model 500,
The Jesus and Mary Chain,
James White and The Blacks,
Joe Finger,
Ajijia Myrayebe,
The Red Krayola,
Eric Dolphy,
Kool G Rap & DJ Polo,
Severed Heads,
Rowland S Howard / Lydia Lunch,
X-101,
Lizzy Mercier Descloux,
Roger Hodgson,
KRS-One,
Porter Ricks,
Girls At Our Best!,
Delon & Dalcan,
Dave Gahan,
Pussy Galore,
John Cale,
Liaisons Dangereuses,
Fort Wilson Riot,
The Five Americans,
Bang on a Can All-Stars,
Gabor Szabo,
Captain Beefheart & His Magic Band,
The Leaves,
Sexual Harrassment,
Pharoah Sanders,
Youth Brigade,
The Cosmic Jokers,
World's Most,
Larry & the Blue Notes,
Little Man, Little Man, Little Man, Little Man.
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.