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 New Zealand and from Winnipeg.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Glasgow and Copenhagen.
I'm losing my edge to the art-school Manila 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 1975 at the first Ubu practice in a loft in Cleveland.
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 Bauhaus to the rock kids.
I played it at the Hacienda.
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 Strawberry Alarm Clock. All the underground hits.
All Blake Baxter tracks. I heard you have a vinyl of every Toni Rubio record on German import.
I heard that you have a white label of every seminal rap 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 a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Sound Behaviour record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang Starr,
Public Image Ltd.,
Ten City,
Brass Construction,
Theoretical Girls,
Jeff Lynne,
The Slits,
the Swans,
Scratch Acid,
the Soft Cell,
Flipper,
the Bar-Kays,
Andrew Hill,
Rhythim Is Rhythim,
Groovy Waters,
The Remains,
Harpers Bizarre,
Freddie Wadling,
Ultravox,
Monolake,
Icehouse,
Guru Guru,
Yusef Lateef,
These Immortal Souls,
Marc Almond,
Television,
New Age Steppers,
Bobby Womack,
Marine Girls,
Johnny Clarke,
MC5,
Joe Smooth,
The Wake,
Yazoo,
Zapp,
Hashim,
Loose Ends,
Siglo XX,
Bootsy Collins,
Reagan Youth,
Simply Red,
Dave Gahan,
D'Angelo,
Mandrill,
L. Decosne,
Heavy D & The Boyz,
the Germs,
The Mighty Diamonds,
Kango’s Stein Massive,
Erasure,
Bauhaus,
Sunsets and Hearts,
The Kinks,
Soft Machine,
The Litter,
Slick Rick,
Lebanon Hanover,
Gerry Rafferty,
Agitation Free,
Glenn Branca,
Howard Jones, Howard Jones, Howard Jones, Howard Jones.
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.