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 Slovenia and from Sao Paulo.
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 1970.
I'm losing my edge.
To all the kids in Milan and Taipei.
I'm losing my edge to the art-school Tokyo 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 organ 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 Flash Fearless to the dance kids.
I played it at CBGB's.
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 Gun Club. All the underground hits.
All Popol Vuh tracks. I heard you have a vinyl of every Barry Ungar record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Modern Lovers,
Orchestral Manoeuvres in the Dark,
Bobby Sherman,
Rod Modell,
The Residents,
Warsaw,
Robert Hood,
Chris Corsano,
CMW,
The Seeds,
Little Man,
The Busters,
Teenage Jesus and the Jerks,
Arab on Radar,
Unrelated Segments,
Joe Finger,
Gang Starr,
Shoche,
Avey Tare & Kría Brekkan,
Major Organ And The Adding Machine,
Kaleidoscope,
Tommy Roe,
Robert Görl,
Todd Terry,
A Flock of Seagulls,
Oppenheimer Analysis,
Pete Rock & C.L. Smooth,
Sixth Finger,
These Immortal Souls,
Eli Mardock,
Thee Headcoats,
Malaria!,
Gil Scott-Heron and Jamie xx,
The Standells,
Theoretical Girls,
Josef K,
Roger Hodgson,
Barry Ungar,
Art Ensemble Of Chicago,
Aural Exciters,
Goldenarms,
Neu!,
Marshall Jefferson,
Joe Smooth,
Urselle,
Smog,
Ponytail,
China Crisis,
Gil Scott Heron,
Camouflage,
Fort Wilson Riot,
Youth Brigade,
Lightning Bolt,
Ornette Coleman,
Livin' Joy,
Sällskapet,
The Misunderstood,
Lindisfarne,
Wally Richardson,
The Men They Couldn't Hang,
Susan Cadogan,
Soul Sonic Force,
The Smoke, The Smoke, The Smoke, The Smoke.
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.