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 Honduras and from Cairo.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1966 to 1975.
I'm losing my edge.
To all the kids in Tehran and Manila.
I'm losing my edge to the art-school Toronto 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 at the first Suicide practice in a loft in New York.
I was working on the 808 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 Byron Stingily to the rock kids.
I played it at CBGB's.
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 Funkadelic. All the underground hits.
All Tom Boy tracks. I heard you have a vinyl of every Japan 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 '60s cut and another box set from the '70s.
I hear you're buying a 808 and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Saccharine Trust record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Section 25,
Marvin Gaye,
Davy DMX,
the Association,
Hasil Adkins,
MDC,
Tomorrow,
Amon Düül,
Camouflage,
Nils Olav,
The Tremeloes,
Reagan Youth,
Delta 5,
The Chocolate Watch Band,
Nation of Ulysses,
Scrapy,
UT,
Kurtis Blow,
48th St. Collective,
Teenage Jesus and the Jerks,
Cabaret Voltaire,
Marshall Jefferson,
Röyhkä ja Rättö ja Lehtisalo,
The Toasters,
Altered Images,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
London Community Gospel Choir,
The Detroit Cobras,
Pantaleimon,
Tears for Fears,
Negative Approach,
The Red Krayola,
Scratch Acid,
Lakeside,
Lou Reed,
Visionaries,LMNO, T- Love & Iriscience,
Vladislav Delay,
Flash Fearless,
Avey Tare & Kría Brekkan,
K-Klass,
Arab on Radar,
Amon Düül II,
Darondo,
The Durutti Column,
Selector Dub Narcotic,
Zero Boys,
The Motions,
Avey Tare's Slasher Flicks,
The Music Machine,
Moby Grape,
The Divine Comedy,
Angels of Light & Akron/Family,
The Invisible,
Dave Gahan,
Kenny Larkin,
Lee Hazlewood,
Nico,
Harmonia,
Lebanon Hanover,
The Remains, The Remains, The Remains, The Remains.
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.