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 Costa Rica and from Tokyo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 Sao Paulo.
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 1978 at the first Visage practice in a loft in London.
I was working on the spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Marcia Griffiths to the disco kids.
I played it at the Troubador.
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 JFA. All the underground hits.
All The Selecter tracks. I heard you have a vinyl of every The Human League 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 '60s cut and another box set from the '70s.
I hear you're buying a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Invisible record.
I hear that you and your band have sold your mellotron and bought a snare.
I hear that you and your band have sold your snare and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siglo XX,
Rhythm & Sound,
Young Marble Giants,
Gichy Dan,
Swans,
Be Bop Deluxe,
Main Source,
Drexciya,
Darondo,
Connie Case,
Television,
Stereo Dub,
Faraquet,
The Seeds,
The Dead C,
Unrelated Segments,
Pharaoh Sanders and the Fire Engines,
Siouxsie and the Banshees,
Todd Terry,
Gerry Rafferty,
Bauhaus,
Teenage Jesus and the Jerks,
Skarface,
Public Enemy,
Theoretical Girls,
The Smoke,
The Alarm Clocks,
The Residents,
Ronnie Foster,
Bronski Beat,
Byron Stingily,
Sandy B,
Andrew Ashong & Theo Parrish,
Adolescents,
Rekid,
The Gories,
Negative Approach,
Intrusion,
Bobby Sherman,
Mission of Burma,
Blancmange,
The Chocolate Watch Band,
Kango’s Stein Massive,
Sixth Finger,
Gregory Isaacs,
Gary Puckett & The Union Gap,
Wally Richardson,
Country Teasers,
Cameo,
Gabor Szabo,
Joe Smooth,
Glambeats Corp.,
Aswad,
Tommy Roe,
A Flock of Seagulls,
The Grass Roots,
Eurythmics,
Pussy Galore,
Youth Brigade,
Angels of Light & Akron/Family,
Ludus,
The Smiths,
Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra.
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.