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 Japan and from London.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1972.
I'm losing my edge.
To all the kids in Tehran and Columbus.
I'm losing my edge to the art-school Seoul 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 arpeggiator 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 Brick to the techno kids.
I played it at the Roxy.
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 Warsaw. All the underground hits.
All Letta Mbulu tracks. I heard you have a vinyl of every Gang Starr 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 '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Victims record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Can,
Basic Channel,
Crispian St. Peters,
Peter Gordon & Love of Life Orchestra,
The Misunderstood,
Godley & Creme,
Steve Hackett,
James Chance & The Contortions,
Lonnie Liston Smith,
The Buckinghams,
The Associates,
The Barracudas,
the Human League,
Wire,
The Mojo Men,
Masters at Work,
Freddie Wadling,
Arab on Radar,
Lebanon Hanover,
Spoonie Gee,
Dawn Penn,
Ten City,
the Bar-Kays,
Vladislav Delay,
Joensuu 1685,
The Litter,
The Blackbyrds,
Matthew Halsall,
Royal Trux,
The Evens,
Ice-T,
The Walker Brothers,
Gerry Rafferty,
Cameo,
Fat Boys,
Erykah Badu,
The Durutti Column,
Severed Heads,
Liaisons Dangereuses,
Byron Stingily,
The Young Rascals,
Dorothy Ashby,
Juan Atkins,
Be Bop Deluxe,
Mo-Dettes,
Audionom,
Eli Mardock,
The Beau Brummels,
R.M.O.,
Hot Snakes,
Danielle Patucci,
Lou Reed,
Swans,
Bobby Sherman,
Strawberry Alarm Clock,
Ajijia Myrayebe,
Davy DMX,
Yaz,
Cymande,
Deutsch Amerikanische Freundschaft,
Organ,
Dave Gahan, Dave Gahan, Dave Gahan, Dave Gahan.
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.