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 Austria and from Halifax.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1971.
I'm losing my edge.
To all the kids in Bremen and London.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the guitar 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 to the grunge 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 Spandau Ballet. All the underground hits.
All Pharoah Sanders tracks. I heard you have a vinyl of every Nico 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 '60s cut and another box set from the '80s.
I hear you're buying a snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Quadrant record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Techniques,
The United States of America,
Rhythm & Sound,
Lee Hazlewood,
Q and Not U,
Alice Coltrane,
Soft Cell,
The Vogues,
Delon & Dalcan,
Joyce Sims,
Rakim,
Harry Pussy,
Fad Gadget,
Altered Images,
In Retrospect,
Gong,
Tres Demented,
Flipper,
Suburban Knight,
Fat Boys,
Nik Kershaw,
The Last Poets,
CMW,
The Doors,
Harpers Bizarre,
Blossom Toes,
The Chocolate Watch Band,
Q65,
Sarah Menescal,
The Evens,
The Fall,
Panda Bear,
Eurythmics,
Faust,
Ornette Coleman,
Pulsallama,
Red Lorry Yellow Lorry,
Bill Wells,
Little Man,
The Monochrome Set,
Joe Smooth,
Pharaoh Sanders and the Fire Engines,
Swell Maps,
The Slits,
The Golliwogs,
Johnny Clarke,
The Seeds,
DJ Sneak,
The Fugs,
Anthony Braxton,
F. McDonald,
Fifty Foot Hose,
Althea and Donna,
N.O.R.E. Featuring Pharrell,
Yaz,
Jacques Brel,
It's A Beautiful Day,
Youth Brigade,
Pussy Galore,
Letta Mbulu,
The Toasters, The Toasters, The Toasters, The Toasters.
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.