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 Mexico and from Manchester.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Salvador and Mexico City.
I'm losing my edge to the art-school Columbus 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 sitar 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 Hardrive to the rock 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 Amazonics. All the underground hits.
All The Durutti Column tracks. I heard you have a vinyl of every Hardrive record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a PIL record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pulsallama,
The Cramps,
Matthew Bourne,
Kevin Saunderson,
Jesper Dahlback,
Sly & The Family Stone,
Scratch Acid,
The Move,
Eve St. Jones,
John Coltrane,
Eric Dolphy,
Pole,
Gian Franco Pienzio,
Ash Ra Tempel,
JFA,
Delon & Dalcan,
Strawberry Alarm Clock,
The Blackbyrds,
Masters at Work,
Loose Ends,
A Flock of Seagulls,
U.S. Maple,
Deepchord,
Nas,
Joe Finger,
Procol Harum,
Patti Smith,
a-ha,
The Blues Magoos,
Scientists,
Lebanon Hanover,
Radiopuhelimet,
The Victims,
Gregory Isaacs,
Technova,
Yazoo,
Youth Brigade,
Simply Red,
Ten City,
Don Cherry,
Lyres,
Can,
Eden Ahbez,
8 Eyed Spy,
La Düsseldorf,
Neil Young & Crazy Horse,
Mission of Burma,
The Standells,
The Last Poets,
Eurythmics,
Lakeside,
Albert Ayler,
Gang Starr,
Arcadia,
The Five Americans,
Skarface,
Crime,
Hasil Adkins,
The Sonics,
Heavy D & The Boyz,
Frankie Knuckles,
Skaos,
The Techniques,
Magazine, Magazine, Magazine, Magazine.
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.