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 East Timor and from Bologna.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Bremen.
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 arpeggiator 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 The Dead C to the rock kids.
I played it at the Astoria.
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 The United States of America. All the underground hits.
All Y Pants tracks. I heard you have a vinyl of every EPMD record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Supertramp record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skarface,
Lindisfarne,
The Tremeloes,
The Names,
Man Parrish,
Arcadia,
Barrington Levy,
Toni Rubio,
kango's stein massive,
Smog,
Morten Harket,
Archie Shepp,
Alphaville,
Howard Jones,
Ultimate Spinach,
Amazonics,
Andrew Ashong & Theo Parrish,
DJ Sneak,
Henry Cow,
Lafayette Afro Rock Band,
Sunsets and Hearts,
Charles Mingus,
Grauzone,
Make Up,
Rahsaan Roland Kirk,
Wasted Youth,
Scott Walker,
Nick Cave & The Bad Seeds,
X-102,
Dual Sessions,
Marmalade,
Fad Gadget,
Derrick May,
Dark Day,
Can,
Robert Wyatt,
Black Sheep,
R.M.O.,
Television Personalities,
The Associates,
DNA,
Nation of Ulysses,
Althea and Donna,
The Mojo Men,
Urselle,
Minnie Riperton,
the Germs,
Jeru the Damaja,
Section 25,
Jacob Miller,
The Blues Magoos,
The Motions,
Brick,
The Velvet Underground,
Todd Terry,
Zapp,
Jawbox,
Das Ding,
Bluetip,
Crash Course in Science, Crash Course in Science, Crash Course in Science, Crash Course in Science.
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.