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 Croatia and from Tokyo.
But I was there.
I was there in 1973.
I was there at the first Television 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 1967 to 1973.
I'm losing my edge.
To all the kids in Houston and Portland.
I'm losing my edge to the art-school Taipei 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 Throbbing Gristle practice in a loft in London.
I was working on the chamberlin 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 Arthur Verocai to the jazz kids.
I played it at the Spitz.
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 Marc Almond. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every Yellowson 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 '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Eric B and Rakim record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
Liaisons Dangereuses,
Byron Stingily,
Stetsasonic,
Main Source,
Rhythim Is Rhythim,
Jeru the Damaja,
Sun City Girls,
Slick Rick,
Big Daddy Kane,
Swell Maps,
Aaron Thompson,
Barry Ungar,
The Fall,
Nas,
Wasted Youth,
Chrome,
It's A Beautiful Day,
Patti Smith,
Scrapy,
Electric Light Orchestra,
The Last Poets,
Silicon Teens,
Peter and Kerry,
Dave Gahan,
Todd Terry,
Brand Nubian,
Man Parrish,
Television Personalities,
Bill Near,
Visionaries,LMNO, T- Love & Iriscience,
DJ Style,
Babytalk,
Lee Hazlewood,
The Gladiators,
Hasil Adkins,
Scott Walker + Sunn O))),
The Cowsills,
Mandrill,
The Wake,
CMW,
Eurythmics,
Soulsonic Force,
Faraquet,
Howard Jones,
Jeff Mills,
Alphaville,
Toni Rubio,
Avey Tare,
Gary Puckett & The Union Gap,
Moebius,
Joey Negro,
Aural Exciters,
Wighnomy Brothers & Robag Wruhme,
Drive Like Jehu,
Radio Birdman,
Reuben Wilson,
Vaughan Mason & Crew,
The Tremeloes,
Japan,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Duran Duran,
Suicide, Suicide, Suicide, Suicide.
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.