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 Jamaica and from Stockholm.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Seoul and Manila.
I'm losing my edge to the art-school Cairo 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the mellotron sounds with much patience.
I was there when David Bowie 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 The Modern Lovers to the dance kids.
I played it at the Astoria.
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 Audionom. All the underground hits.
All Albert Ayler tracks. I heard you have a vinyl of every Isaac Hayes 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 '80s.
I hear you're buying a 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Siouxsie and the Banshees record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monolake,
Sight & Sound,
New Age Steppers,
Yaz,
X-102,
Eve St. Jones,
Vaughan Mason & Crew,
The Slits,
ABC,
Eric Copeland,
Grandmaster Flash,
Interpol,
Wasted Youth,
Scott Walker,
Anakelly,
Oppenheimer Analysis,
Black Bananas,
New Order,
Ultra Naté,
Mad Mike,
James Chance & The Contortions,
The Neon Judgement,
Crooked Eye,
Gang Gang Dance,
The Sisters of Mercy,
The Selecter,
Marine Girls,
Tim Buckley,
Radio Birdman,
Brass Construction,
Cymande,
Boredoms,
Dave Gahan,
Avey Tare & Kría Brekkan,
Guru Guru,
Ohio Players,
The Birthday Party,
Sexual Harrassment,
ABBA,
John Cale,
Groovy Waters,
Rhythm & Sound,
Intrusion,
The Music Machine,
Slick Rick,
Bobby Sherman,
Josef K,
B.T. Express,
Roxy Music,
Tears for Fears,
Underground Resistance,
PIL,
Swell Maps,
Oneida,
the Sonics,
The Misunderstood,
Second Layer,
Con Funk Shun,
Lalann,
Pole,
Amon Düül,
Nation of Ulysses,
Rod Modell, Rod Modell, Rod Modell, Rod Modell.
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.