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 Switzerland and from Manchester.
But I was there.
I was there in .
I was there at the first Suicide 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 1965 to 1979.
I'm losing my edge.
To all the kids in Johannesburg and Jakarta.
I'm losing my edge to the art-school Paris 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 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 Kango’s Stein Massive to the funk 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 Royal Trux. All the underground hits.
All The Blackbyrds tracks. I heard you have a vinyl of every Swans 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 '70s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Rotary Connection record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mary Jane Girls,
Public Image Ltd.,
The Alarm Clocks,
Pantytec,
Barry Ungar,
Accadde A,
New York Dolls,
Eve St. Jones,
Urselle,
Sun Ra Arkestra,
Easy Going,
Frankie Knuckles,
Franke,
A Certain Ratio,
Terry Callier,
Mr. Review,
The Motions,
Oppenheimer Analysis,
Ronnie Foster,
Scrapy,
Robert Hood,
Sly & The Family Stone,
DNA,
Tomorrow,
Stiv Bators,
Tears for Fears,
Gang Starr,
Rowland S Howard / Lydia Lunch,
Letta Mbulu,
Kerri Chandler,
Circle Jerks,
The Blackbyrds,
Lalann,
James Chance & The Contortions,
The Doobie Brothers,
The Golliwogs,
Notorious BIG live in Amsterdam,
Anakelly,
OOIOO,
Byron Stingily,
The Leaves,
The Star Department,
Second Layer,
10cc,
The Cramps,
Gil Scott-Heron and Jamie xx,
Terrestrial Tones,
Bobby Byrd,
The Index,
Gil Scott-Heron & Brian Jackson,
Von Mondo,
Janne Schatter,
The Slits,
The Gladiators,
The Moody Blues,
Albert Ayler,
Alison Limerick,
Buzzcocks,
Suicide,
Todd Terry,
Sun City Girls,
The Birthday Party,
Jandek, Jandek, Jandek, Jandek.
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.