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 Argentina and from Taipei.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Milan and Lagos.
I'm losing my edge to the art-school Philadelphia 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 synthesizer sounds with much patience.
I was there when Holger Czukay 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 The Flesh Eaters to the rap 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 MC5. All the underground hits.
All Jesper Dahlbäck tracks. I heard you have a vinyl of every Accadde A record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minutemen,
Larry & the Blue Notes,
Ultramagnetic MC's,
Agent Orange,
Sister Nancy,
The Human League,
Boogie Down Productions,
Big Daddy Kane,
PIL,
Delta 5,
The Wake,
These Immortal Souls,
Basic Channel,
The Cowsills,
Reagan Youth,
China Crisis,
A Flock of Seagulls,
Aswad,
Eyeless In Gaza,
Slave,
Negative Approach,
The Slits,
Josef K,
48th St. Collective,
Harry Pussy,
The Knickerbockers,
Cheater Slicks,
Icehouse,
Manfred Mann's Earth Band,
Saccharine Trust,
Robert Görl,
Barrington Levy,
Sound Behaviour,
Monolake,
Eric Dolphy,
The Invisible,
Simply Red,
The Five Americans,
Blake Baxter,
Bill Wells,
The Dave Clark Five,
Spandau Ballet,
Metal Thangz,
Sonny Sharrock,
Black Sheep,
The Remains,
Soft Machine,
Skriet,
Rites of Spring,
Andrew Hill,
The Shadows of Knight,
Tommy Roe,
Pantytec,
Nirvana,
Ultravox,
The Golliwogs,
Idris Muhammad,
Sandy B,
Stereo Dub, Stereo Dub, Stereo Dub, Stereo Dub.
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.