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 Bremen.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1970.
I'm losing my edge.
To all the kids in Woodstock and Sao Paulo.
I'm losing my edge to the art-school Spokane 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 harpsichord 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 Chrome to the punk 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 Adolescents. All the underground hits.
All Avey Tare's Slasher Flicks tracks. I heard you have a vinyl of every The Index 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 '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Groovy Waters record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Audionom,
Dennis Brown,
Mr. Review,
Donny Hathaway,
Grauzone,
The Names,
Saccharine Trust,
Skarface,
Ludus,
The Motions,
Neil Young & Crazy Horse,
Chris & Cosey,
the Fania All-Stars,
Siouxsie and the Banshees,
Curtis Mayfield,
John Coltrane,
Deepchord,
New Order,
The Cure,
Iggy Pop,
Erasure,
Bob Dylan,
Bush Tetras,
The Sisters of Mercy,
Roxette,
Deakin,
Gary Puckett & The Union Gap,
Man Eating Sloth,
Hashim,
Q65,
Brick,
Supertramp,
Peter and Kerry,
Average White Band,
Rufus Thomas,
Hardrive,
Kool G Rap & DJ Polo,
John Holt,
Gian Franco Pienzio,
Rapeman,
Icehouse,
Alison Limerick,
New York Dolls,
Rekid,
Public Image Ltd.,
The Monochrome Set,
The Wake,
Marvin Gaye,
Danielle Patucci,
Sly & The Family Stone,
Peter Gordon & Love of Life Orchestra,
the Human League,
Agent Orange,
Frankie Knuckles,
The Jesus and Mary Chain,
Public Enemy,
Dave Gahan,
Albert Ayler,
The Cosmic Jokers,
Al Stewart, Al Stewart, Al Stewart, Al Stewart.
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.