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 Sudan and from Madrid.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1978.
I'm losing my edge.
To all the kids in Toronto and Woodstock.
I'm losing my edge to the art-school Mexico City 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 theremin 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 Chrome to the grunge kids.
I played it at Cafe Wha.
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 Nirvana. All the underground hits.
All The Tremeloes tracks. I heard you have a vinyl of every Henry Cow 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 '90s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a X-102 record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Schoolly D,
The Grass Roots,
Sight & Sound,
Kenny Larkin,
Jesper Dahlback,
The Dirtbombs,
Circle Jerks,
The Cosmic Jokers,
Bush Tetras,
kango's stein massive,
Livin' Joy,
B.T. Express,
Richard Hell and the Voidoids,
Ash Ra Tempel,
The Invisible,
Stiv Bators,
Letta Mbulu,
Monolake,
China Crisis,
Laurel Aitken,
Frankie Knuckles,
The Cure,
Pete Rock & C.L. Smooth,
Lou Reed & Metallica,
Althea and Donna,
Kurtis Blow,
Gang of Four,
The United States of America,
Banda Bassotti,
Heaven 17,
The Modern Lovers,
Grandmaster Flash and the Furious Five,
The Cramps,
Intrusion,
Theoretical Girls,
Slick Rick,
Lou Reed & John Cale,
Sexual Harrassment,
The Misunderstood,
Lucky Dragons,
Excepter,
Thompson Twins,
CMW,
The Pop Group,
Beasts of Bourbon,
Echo & the Bunnymen,
The West Coast Pop Art Experimental Band,
Throbbing Gristle,
Kevin Saunderson,
The Count Five,
Pulsallama,
Darondo,
Girls At Our Best!,
Joy Division,
X-Ray Spex,
Hot Snakes,
Oblivians,
Joe Finger,
Underground Resistance,
Babytalk,
Matthew Halsall,
Grauzone, Grauzone, Grauzone, Grauzone.
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.