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 Nigeria and from Copenhagen.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Toronto and Accra.
I'm losing my edge to the art-school Salvador 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the marimba sounds with much patience.
I was there when Michael McDonald 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 Dead Boys to the grime 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 Andrew Ashong & Theo Parrish. All the underground hits.
All Saccharine Trust tracks. I heard you have a vinyl of every The Gap Band record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T.S.O.L.,
Cybotron,
Chrome,
Quantec,
Deutsch Amerikanische Freundschaft,
Organ,
ABC,
Jacques Brel,
Talk Talk,
Todd Terry,
The Litter,
Thee Headcoats,
10cc,
Pulsallama,
Vaughan Mason & Crew,
Godley & Creme,
Ponytail,
Fifty Foot Hose,
Teenage Jesus and the Jerks,
Glambeats Corp.,
Mantronix,
John Lydon,
Warsaw,
Clear Light,
Sun City Girls,
Sam Rivers,
Skaos,
Patti Smith,
Kango’s Stein Massive,
Jesper Dahlback,
The Mojo Men,
Harry Pussy,
The American Breed,
Chris Corsano,
MC5,
Jacob Miller,
H. Thieme,
Trumans Water,
The Jesus and Mary Chain,
Soulsonic Force,
DJ Sneak,
Avey Tare & Kría Brekkan,
The Count Five,
Mission of Burma,
Jerry's Kids,
Unrelated Segments,
Adolescents,
Gang of Four,
Bob Dylan,
Throbbing Gristle,
Lee Hazlewood,
The Gap Band,
Leonard Cohen,
The Star Department,
Red Lorry Yellow Lorry,
Ultravox,
Electric Prunes,
Aural Exciters,
Gian Franco Pienzio,
Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza.
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.