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 Fiji and from Spokane.
But I was there.
I was there in 1978.
I was there at the first Visage show in 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 1963 to 1972.
I'm losing my edge.
To all the kids in Jakarta and Shanghai.
I'm losing my edge to the art-school Tehran 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the spring reverb sounds with much patience.
I was there when David Bowie 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 Liliput to the disco 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 Major Organ And The Adding Machine. All the underground hits.
All Groovy Waters tracks. I heard you have a vinyl of every Ajijia Myrayebe record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Qualms,
Bobby Byrd,
The Mummies,
Scrapy,
The Divine Comedy,
Young Marble Giants,
Franke,
Quando Quango,
Sex Pistols,
Grandmaster Flash,
Bobby Womack,
Buzzcocks,
China Crisis,
Whodini,
Letta Mbulu,
Roger Hodgson,
The Leaves,
The Names,
Masters at Work,
The Music Machine,
Ronnie Foster,
Lou Christie,
Q and Not U,
The Grass Roots,
Connie Case,
KRS-One,
Gregory Isaacs,
Mo-Dettes,
Blancmange,
Grauzone,
Bootsy's Rubber Band,
Duran Duran,
Idris Muhammad,
Teenage Jesus and the Jerks,
Ajijia Myrayebe,
Supertramp,
E-Dancer,
Anthony Braxton,
Jacques Brel,
Soft Machine,
Agent Orange,
David Bowie,
Kerri Chandler,
Crash Course in Science,
Swans,
Echo & the Bunnymen,
New Age Steppers,
John Coltrane,
The Fuzztones,
The Cowsills,
Kango’s Stein Massive,
The Raincoats,
Minor Threat,
Joyce Sims,
Urselle,
Oblivians,
Junior Murvin,
ABC,
Slave,
Ponytail,
James White and The Blacks,
DJ Style,
Tim Buckley,
In Retrospect,
Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic.
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.