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 Singapore and from Philadelphia.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1979.
I'm losing my edge.
To all the kids in Lagos and Manila.
I'm losing my edge to the art-school Seoul 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 The Gap Band to the electroclash kids.
I played it at the 40 Watt.
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 Bobby Hutcherson. All the underground hits.
All Warsaw tracks. I heard you have a vinyl of every Joey Negro 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 '80s.
I hear you're buying an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Tears for Fears record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lebanon Hanover,
ABC,
Echo & the Bunnymen,
Lizzy Mercier Descloux,
Barrington Levy,
AZ,
Y Pants,
Tears for Fears,
The Motions,
The Black Dice,
DJ Sneak,
Jerry's Kids,
Man Eating Sloth,
The Golliwogs,
John Lydon,
Rotary Connection,
Nick Fraelich,
Dark Day,
James Chance & The Contortions,
Scion,
Pierre Henry,
Au Pairs,
Prince Buster,
Thinking Fellers Union Local 282,
Morten Harket,
The Grass Roots,
Hasil Adkins,
Art Ensemble Of Chicago,
Television,
Reuben Wilson,
Harry Pussy,
T.S.O.L.,
Moebius,
Ten City,
The Velvet Underground,
Technova,
Dr. Dre and Snoop Doggy Dog,
It's A Beautiful Day,
Tim Buckley,
Ralphi Rosario,
Blake Baxter,
Mo-Dettes,
The Standells,
The Jesus and Mary Chain,
Heaven 17,
Lou Reed & John Cale,
Lou Reed & Metallica,
Lafayette Afro Rock Band,
Eden Ahbez,
Ituana,
The Red Krayola,
E-Dancer,
X-102,
Soul Sonic Force,
Ash Ra Tempel,
Peter Gordon & Love of Life Orchestra,
T. Rex,
The Blackbyrds,
The Litter,
Crime,
The Happenings,
Scientists,
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.