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 Bangladesh and from Glasgow.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Columbus and Portland.
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 1978 at the first Visage practice in a loft in London.
I was working on the arpeggiator 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 Byron Stingily to the rap kids.
I played it at the Roxy.
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 Dave Clark Five. All the underground hits.
All Derrick Morgan tracks. I heard you have a vinyl of every Suicide 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 '50s cut and another box set from the '90s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Gang of Four record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeru the Damaja,
Aaron Thompson,
The Invisible,
Joe Smooth,
Essential Logic,
DJ Sneak,
Idris Muhammad,
X-101,
The Leaves,
Colin Newman,
Aswad,
Tom Boy,
Blancmange,
the Normal,
Inner City,
Bluetip,
Deepchord,
Terror Squad Feat. Camron,
Nation of Ulysses,
Camron Feat. Memphis Bleek And Beenie Seigel,
Young Marble Giants,
John Coltrane,
Make Up,
Blossom Toes,
Radio Birdman,
the Swans,
Susan Cadogan,
Roy Ayers,
JFA,
Los Fastidios,
The Alarm Clocks,
LL Cool J,
B.T. Express,
Bush Tetras,
Brick,
It's A Beautiful Day,
Can,
Joe Finger,
Justin Hinds & The Dominoes,
Kool Moe Dee,
Eric Dolphy,
FM Einheit,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Mad Mike,
Circle Jerks,
Black Sheep,
Franke,
Eric B and Rakim,
Prince Buster,
The Motions,
Black Bananas,
Adolescents,
Dave Gahan,
Procol Harum,
Kayak,
Boogie Down Productions,
The Last Poets,
Suburban Knight,
Television,
Jesper Dahlback,
A Flock of Seagulls,
Aural Exciters, Aural Exciters, Aural Exciters, Aural Exciters.
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.