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 Palau and from Calgary.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1972.
I'm losing my edge.
To all the kids in Accra and Calgary.
I'm losing my edge to the art-school London 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the mellotron 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 Lou Reed & John Cale to the rap 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 Sad Lovers and Giants. All the underground hits.
All Kings Of Tomorrow tracks. I heard you have a vinyl of every Adolescents 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 '60s cut and another box set from the '90s.
I hear you're buying a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harmonia,
EPMD,
Röyhkä ja Rättö ja Lehtisalo,
Hashim,
Matthew Halsall,
The Busters,
The United States of America,
Loose Ends,
Slave,
Public Enemy,
Avey Tare,
Black Flag,
Depeche Mode,
The Kinks,
Warsaw,
Vainqueur,
The Sonics,
Suburban Knight,
Pantytec,
Ultra Naté,
Deepchord,
Minutemen,
Minor Threat,
The Skatalites,
Pet Shop Boys,
Danielle Patucci,
Theoretical Girls,
Donny Hathaway,
Thee Headcoats,
T.S.O.L.,
Hardrive,
Lyres,
Dorothy Ashby,
Scratch Acid,
Justin Hinds & The Dominoes,
Gil Scott Heron,
Gang Green,
Bush Tetras,
Stetsasonic,
Joe Finger,
Dead Boys,
Amon Düül,
The Moleskins,
Zero Boys,
Bobby Byrd,
Lalo Schifrin,
The Blues Magoos,
Rotary Connection,
the Human League,
The Slackers,
FM Einheit,
A Flock of Seagulls,
Parry Music,
The Shadows of Knight,
Bootsy Collins,
The Gun Club,
Gregory Isaacs,
ABBA,
The Remains,
Sunsets and Hearts,
Rhythim Is Rhythim,
The Chocolate Watch Band,
Procol Harum,
the Germs, the Germs, the Germs, the Germs.
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.