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 Papua New Guinea and from Lyon.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Winnipeg and Seoul.
I'm losing my edge to the art-school Philadelphia 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 theremin 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 Cabaret Voltaire to the grime 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 The Standells. All the underground hits.
All The Barracudas tracks. I heard you have a vinyl of every Sound Behaviour 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 '60s cut and another box set from the '80s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Art Ensemble Of Chicago record.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Byron Stingily,
The Monochrome Set,
FM Einheit,
Television,
Tim Buckley,
The Sisters of Mercy,
The Men They Couldn't Hang,
Nation of Ulysses,
Infiniti,
David Bowie,
Roxette,
UT,
The Kinks,
L. Decosne,
The Index,
The Smiths,
Mo-Dettes,
Peter and Kerry,
The Doobie Brothers,
Gary Puckett & The Union Gap,
Aloha Tigers,
Tubeway Army,
Pere Ubu,
Surgeon,
Dave Gahan,
Camron Feat. Memphis Bleek And Beenie Seigel,
Tommy Roe,
Crooked Eye,
B.T. Express,
Absolute Body Control,
Pantytec,
The Slackers,
Notorious Big And Bone Thugs,
Robert Hood,
The Electric Prunes,
Lakeside,
Gil Scott Heron,
Deadbeat,
Crash Course in Science,
A Certain Ratio,
Nas,
Lou Reed,
The Motions,
It's A Beautiful Day,
Robert Wyatt,
T.S.O.L.,
Morten Harket,
Eve St. Jones,
Gil Scott-Heron & Brian Jackson,
the Human League,
June Days,
John Coltrane,
Swans,
Drive Like Jehu,
Funky Four + One,
Interpol,
Lalo Schifrin,
the Normal,
Animal Collective,
Wasted Youth,
Scrapy,
Japan,
The Remains, The Remains, The Remains, The Remains.
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.