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 Slovakia and from Glasgow.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Toronto and Hong Kong.
I'm losing my edge to the art-school Salvador 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the güiro 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 Spandau Ballet to the grime kids.
I played it at the Hacienda.
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 Detroit Cobras. All the underground hits.
All H. Thieme tracks. I heard you have a vinyl of every Panda Bear record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a 808 and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Marc Almond record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Fatback Band,
Barrington Levy,
The Birthday Party,
Todd Terry,
Aloha Tigers,
F. McDonald,
Beasts of Bourbon,
Siouxsie and the Banshees,
The Buckinghams,
Rowland S Howard / Lydia Lunch,
Notorious Big And Bone Thugs,
Dead Boys,
Marcia Griffiths,
Wasted Youth,
Bluetip,
Metal Thangz,
Davy DMX,
Jeff Lynne,
Pussy Galore,
Ohio Players,
Pharaoh Sanders and the Fire Engines,
The Seeds,
Yellowson,
Avey Tare's Slasher Flicks,
Camberwell Now,
Procol Harum,
The Chocolate Watch Band,
Lou Reed,
Rhythm & Sound,
Eric Copeland,
Soul II Soul,
The Misunderstood,
Radio Birdman,
Television,
Funkadelic,
Jesper Dahlbäck,
Subhumans,
Zero Boys,
Goldenarms,
Wolf Eyes,
The Names,
Ralphi Rosario,
a-ha,
Severed Heads,
Model 500,
Ken Boothe,
Intrusion,
Iggy Pop,
Clear Light,
John Holt,
Lafayette Afro Rock Band,
Blake Baxter,
Don Cherry,
Theoretical Girls,
Pete Rock & C.L. Smooth,
Gang Green,
Chrome,
Mad Mike,
Echo & the Bunnymen,
Amazonics,
Oblivians, Oblivians, Oblivians, Oblivians.
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.