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 China and from Manila.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1971.
I'm losing my edge.
To all the kids in Accra and Toronto.
I'm losing my edge to the art-school Stockholm 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 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 Bauhaus to the electroclash 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 Jerry Gold Smith. All the underground hits.
All Scott Walker + Sunn O))) tracks. I heard you have a vinyl of every Monks record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Litter record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q65,
Ten City,
Sex Pistols,
The Royal Family And The Poor,
Eric Dolphy,
Altered Images,
June Days,
Shuggie Otis,
Marmalade,
Röyhkä ja Rättö ja Lehtisalo,
The Gladiators,
These Immortal Souls,
Camberwell Now,
PIL,
Lou Reed & John Cale,
X-Ray Spex,
The Dead C,
Jimmy McGriff,
The Slackers,
James Chance & The Contortions,
Gichy Dan,
Rosa Yemen,
Ronnie Foster,
Funky Four + One,
Livin' Joy,
Gong,
Stetsasonic,
Oblivians,
The Techniques,
Radiohead,
David Bowie,
the Bar-Kays,
Agitation Free,
Sarah Menescal,
Peter and Kerry,
Jacob Miller,
Boredoms,
Harpers Bizarre,
The Blues Magoos,
Neu!,
Tropical Tobacco,
The American Breed,
Young Marble Giants,
Roy Ayers Ubiquity,
Moss Icon,
Heavy D & The Boyz,
Bobby Womack,
It's A Beautiful Day,
Fad Gadget,
Rahsaan Roland Kirk,
Jeff Mills,
Jeru the Damaja,
Radiopuhelimet,
Toni Rubio,
The Fugs,
Echospace,
Soul II Soul,
La Düsseldorf,
Laurel Aitken,
Aural Exciters, Aural Exciters, Aural Exciters, Aural Exciters.
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.