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 Belgium and from Lagos.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Beijing and London.
I'm losing my edge to the art-school Beijing 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the rhodes 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 Urselle to the rap kids.
I played it at CBGB's.
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 MDC. All the underground hits.
All PIL tracks. I heard you have a vinyl of every Deepchord record on German import.
I heard that you have a white label of every seminal techno 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 spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Warsaw record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Al Stewart,
Pole,
Faust,
Crime,
Lizzy Mercier Descloux,
Porter Ricks,
Nas,
Rakim,
Wally Richardson,
Blossom Toes,
Intrusion,
Brick,
The Fire Engines,
The Index,
Warren Ellis,
Lou Reed & Metallica,
Art Ensemble Of Chicago,
Marcia Griffiths,
The Happenings,
Bootsy's Rubber Band,
The Names,
Chrome,
Derrick May,
Sonny Sharrock,
The Alarm Clocks,
James Chance & The Contortions,
The New Christs,
Nirvana,
Lungfish,
The Detroit Cobras,
Mary Jane Girls,
Barclay James Harvest,
Ohio Players,
The Music Machine,
Outsiders,
Roger Hodgson,
Metal Thangz,
Vainqueur,
Lower 48,
Panda Bear,
Kool Moe Dee,
Lindisfarne,
Bob Dylan,
John Foxx,
ABBA,
The Zeros,
Judy Mowatt,
Kings Of Tomorrow,
The Fuzztones,
Strawberry Alarm Clock,
Howard Jones,
Graham Central Station,
Wolf Eyes,
Underground Resistance,
E-Dancer,
World's Most,
Bad Manners,
The Velvet Underground,
Moss Icon,
China Crisis,
Goldenarms,
Wire, Wire, Wire, Wire.
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.