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 Lebanon and from Mumbai.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Lagos and Madrid.
I'm losing my edge to the art-school Cairo 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 sitar sounds with much patience.
I was there when Lou Reed 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 Sarah Menescal to the electroclash 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 Minor Threat. All the underground hits.
All Davy DMX tracks. I heard you have a vinyl of every Gregory Isaacs 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 sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Beau Brummels,
Gang of Four,
Reuben Wilson,
Byron Stingily,
The American Breed,
Youth Brigade,
Juan Atkins,
Urselle,
Rhythim Is Rhythim,
Robert Görl,
Duran Duran,
MDC,
New Age Steppers,
The Knickerbockers,
Agent Orange,
Robert Hood,
Eyeless In Gaza,
The Dirtbombs,
Lucky Dragons,
Kango’s Stein Massive,
Intrusion,
Arcadia,
Soft Machine,
F. McDonald,
Jesper Dahlbäck,
Grandmaster Flash,
Curtis Mayfield,
Marc Almond,
Terrestrial Tones,
Howard Jones,
Mr. Review,
Bronski Beat,
Visage,
Marshall Jefferson,
Slave,
Panda Bear,
Animal Collective,
Eden Ahbez,
Marc Romboy vs. Booka Shade,
Hoover,
Aaron Thompson,
Kool Moe Dee,
Wire,
Laurel Aitken,
Trumans Water,
The Men They Couldn't Hang,
Michelle Simonal,
Livin' Joy,
Lonnie Liston Smith,
Boredoms,
The Fuzztones,
Pharaoh Sanders and the Fire Engines,
Quantec,
Outsiders,
Moby Grape,
Drexciya,
John Coltrane,
Stockholm Monsters,
The Blackbyrds,
Connie Case,
Minutemen,
Pole,
The Sisters of Mercy, The Sisters of Mercy, The Sisters of Mercy, The Sisters of Mercy.
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.