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 Korea North and from Columbus.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Manila and Winnipeg.
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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the spring reverb sounds with much patience.
I was there when Michael McDonald 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 Mighty Diamonds to the techno kids.
I played it at the Troubador.
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 DNA. All the underground hits.
All the Sonics tracks. I heard you have a vinyl of every The Index record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Men They Couldn't Hang record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Visage,
Rhythm & Sound,
The Divine Comedy,
The Residents,
Crispian St. Peters,
De La Soul & Jungle Brothers,
Jacob Miller,
Subhumans,
Gang Green,
Cabaret Voltaire,
Loose Ends,
Scion,
Lee Hazlewood,
Dave Gahan,
Susan Cadogan,
Stockholm Monsters,
James Chance & The Contortions,
Make Up,
Hasil Adkins,
Silicon Teens,
The Sound,
the Bar-Kays,
Derrick May,
Anakelly,
The Human League,
Index,
Harmonia,
Von Mondo,
Amon Düül II,
Flash Fearless,
Grandmaster Flash and the Furious Five,
The Red Krayola,
Severed Heads,
Harry Pussy,
Richard Hell and the Voidoids,
the Human League,
Glambeats Corp.,
Model 500,
Curtis Mayfield,
Skriet,
Arab on Radar,
Bootsy's Rubber Band,
The Seeds,
Piero Umiliani,
Vainqueur,
Matthew Halsall,
The Associates,
Masters at Work,
Yaz,
Bill Wells,
Bobby Byrd,
Banda Bassotti,
Brick,
B.T. Express,
Pylon,
Saccharine Trust,
Marmalade,
Icehouse,
DeepChord presents Echospace,
Vaughan Mason & Crew,
Chrome,
Wire,
The Angels of Light,
the Fania All-Stars,
Delon & Dalcan, Delon & Dalcan, Delon & Dalcan, Delon & Dalcan.
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.