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 Japan 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 1961 to 1977.
I'm losing my edge.
To all the kids in Houston and Johannesburg.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the marimba 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 Tubeway Army to the dance kids.
I played it at the Astoria.
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 Sun City Girls. All the underground hits.
All The Dead C tracks. I heard you have a vinyl of every Barclay James Harvest record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a the Soft Cell record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
Mr. Review,
The Gories,
Fugazi,
Ultra Naté,
Ash Ra Tempel,
The Music Machine,
The Fire Engines,
Aswad,
Camouflage,
The Searchers,
Animal Collective,
Marmalade,
Eurythmics,
Camron Feat. Memphis Bleek And Beenie Seigel,
Drexciya,
Red Lorry Yellow Lorry,
The Victims,
Outsiders,
The Alarm Clocks,
The Happenings,
Grauzone,
Sandy B,
The Five Americans,
Dead Boys,
Severed Heads,
Make Up,
Donald Byrd,
Rufus Thomas,
Smog,
Reagan Youth,
Deepchord,
Gregory Isaacs,
Fluxion,
The Dead C,
Bob Dylan,
Accadde A,
Eric B and Rakim,
Ituana,
Anakelly,
Bill Wells,
Metal Thangz,
Brothers Johnson,
Gichy Dan,
Groovy Waters,
The Young Rascals,
Johnny Osbourne,
Pierre Henry,
Black Sheep,
Andrew Ashong & Theo Parrish,
the Slits,
Monolake,
Hot Snakes,
Y Pants,
Underground Resistance,
Qualms,
Radio Birdman,
Deadbeat,
The Techniques,
Pylon,
Theoretical Girls,
Soul II Soul,
Piero Umiliani, Piero Umiliani, Piero Umiliani, Piero Umiliani.
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.