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 Tonga and from Manchester.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Hong Kong and Mexico City.
I'm losing my edge to the art-school Stockholm 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 Smiths 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 Rod Modell. All the underground hits.
All The Monks tracks. I heard you have a vinyl of every The J.B.'s 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 '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Radiohead record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aswad,
The Blues Magoos,
PIL,
Scion,
Tropical Tobacco,
Suicide,
Donald Byrd,
Throbbing Gristle,
Spandau Ballet,
Ultra Naté,
Drexciya,
Lonnie Liston Smith,
Negative Approach,
World's Most,
Liliput,
The Sisters of Mercy,
The Dave Clark Five,
Bad Manners,
Rosa Yemen,
Teenage Jesus and the Jerks,
The Doobie Brothers,
The Tremeloes,
Unrelated Segments,
David Axelrod,
Accadde A,
New Order,
Yellowson,
a-ha,
John Cale,
Marine Girls,
Motorama,
John Lydon,
Janne Schatter,
Fela Kuti,
Gang of Four,
Soul II Soul,
David McCallum,
DeepChord presents Echospace,
Marc Almond,
Angry Samoans,
The Techniques,
Tears for Fears,
Alison Limerick,
Arab on Radar,
Jeff Mills,
Ultravox,
These Immortal Souls,
Beasts of Bourbon,
Niagra,
Alice Coltrane,
Joe Finger,
Scrapy,
KRS-One,
Matthew Halsall,
Cal Tjader,
Absolute Body Control,
Crash Course in Science,
Sexual Harrassment,
Sister Nancy,
DJ Style,
The Monks,
The Walker Brothers,
Blancmange,
Nation of Ulysses,
Half Japanese, Half Japanese, Half Japanese, Half Japanese.
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.