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 Korea South and from Paris.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1968 to 1970.
I'm losing my edge.
To all the kids in Milan and Lille.
I'm losing my edge to the art-school Woodstock 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 organ 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 Warsaw to the punk 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 Pylon. All the underground hits.
All Laurel Aitken tracks. I heard you have a vinyl of every Shuggie Otis record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Stiv Bators record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris Corsano,
Deadbeat,
Fugazi,
Dorothy Ashby,
Black Pus,
LL Cool J,
Skriet,
Pagans,
Mandrill,
Skaos,
Second Layer,
Röyhkä ja Rättö ja Lehtisalo,
Y Pants,
the Germs,
Michelle Simonal,
MDC,
Godley & Creme,
The Black Dice,
John Coltrane,
Metal Thangz,
OOIOO,
Ultra Naté,
David Bowie,
Black Sheep,
Drexciya,
Make Up,
Surgeon,
Henry Cow,
Fat Boys,
The Red Krayola,
Circle Jerks,
Eli Mardock,
Stiv Bators,
Iggy Pop,
This Heat,
Manfred Mann's Earth Band,
The Birthday Party,
James White and The Blacks,
Wasted Youth,
Kerrie Biddell,
The Cowsills,
Black Moon,
the Association,
Bobby Womack,
X-Ray Spex,
Juan Atkins,
Scratch Acid,
The Misunderstood,
The Offenders,
Camron Feat. Memphis Bleek And Beenie Seigel,
Lyres,
Black Flag,
Ash Ra Tempel,
Whodini,
Crime,
The Fortunes,
Josef K,
Pole,
Main Source,
Warren Ellis,
The Raincoats,
Sly & The Family Stone,
Can, Can, Can, Can.
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.