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 Brazil and from Mexico City.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Spokane and Seoul.
I'm losing my edge to the art-school Milan 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 theremin 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 London Community Gospel Choir to the techno kids.
I played it at the Roxy.
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 Blake Baxter. All the underground hits.
All Hardrive tracks. I heard you have a vinyl of every Gang Gang Dance record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scrapy,
The Zeros,
Deutsch Amerikanische Freundschaft,
Peter & Gordon,
Tubeway Army,
A Flock of Seagulls,
The Associates,
The Knickerbockers,
Ohio Players,
Surgeon,
Alison Limerick,
Jacob Miller,
Iggy Pop,
Bobby Hutcherson,
Slave,
The Fall,
Tears for Fears,
The Music Machine,
Bill Wells,
Lyres,
Ludus,
Quando Quango,
Eyeless In Gaza,
Amon Düül,
Metal Thangz,
Strawberry Alarm Clock,
Big Daddy Kane,
Jawbox,
Roxette,
Hoover,
Zero Boys,
Moebius,
Vainqueur,
Public Enemy,
Suburban Knight,
Fifty Foot Hose,
Albert Ayler,
Dual Sessions,
Fatback Band,
Rakim,
Fear,
Television Personalities,
Unrelated Segments,
Anakelly,
Unwound,
La Düsseldorf,
Heaven 17,
Major Organ And The Adding Machine,
Erykah Badu,
Trumans Water,
Theoretical Girls,
Art Ensemble Of Chicago,
Jacques Brel,
Bluetip,
Gang Starr,
Bill Near,
Bronski Beat,
Outsiders,
Graham Central Station,
Blancmange,
Kayak,
Lafayette Afro Rock Band,
Rekid, Rekid, Rekid, Rekid.
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.