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 Maldives and from Cairo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1976.
I'm losing my edge.
To all the kids in Stockholm and Woodstock.
I'm losing my edge to the art-school Copenhagen 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 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 Wolf Eyes to the punk 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 Drive Like Jehu. All the underground hits.
All Basic Channel tracks. I heard you have a vinyl of every Bill Wells record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yaz,
Rapeman,
Chris & Cosey,
Mad Mike,
Tim Buckley,
Bill Wells,
Althea and Donna,
Zapp,
Ultimate Spinach,
Motorama,
Absolute Body Control,
Jeff Mills,
New York Dolls,
Liaisons Dangereuses,
Alton Ellis,
Teenage Jesus and the Jerks,
The Birthday Party,
Rahsaan Roland Kirk,
Pet Shop Boys,
Deepchord,
Gil Scott-Heron and Jamie xx,
Ultra Naté,
ABBA,
Robert Hood,
Black Flag,
The Walker Brothers,
Joensuu 1685,
Max Romeo,
Piero Umiliani,
Unrelated Segments,
Terrestrial Tones,
JFA,
Ralphi Rosario,
Pussy Galore,
Toni Rubio,
Lou Reed,
Isaac Hayes,
Half Japanese,
B.T. Express,
Saccharine Trust,
Peter & Gordon,
Sad Lovers and Giants,
Barclay James Harvest,
T. Rex,
Moebius,
OOIOO,
Chrome,
Porter Ricks,
Magazine,
The Fortunes,
Freddie Wadling,
Jawbox,
Groovy Waters,
Kauko Röyhkä ja Narttu,
Judy Mowatt,
Graham Central Station,
The Men They Couldn't Hang,
Grandmaster Flash,
Warren Ellis,
Blossom Toes,
Rhythm & Sound,
Bill Near,
Marine Girls, Marine Girls, Marine Girls, Marine Girls.
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.