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 Ecuador and from Copenhagen.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1977.
I'm losing my edge.
To all the kids in Toronto and Spokane.
I'm losing my edge to the art-school Johannesburg 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the 808 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 Icehouse to the punk 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 Dave Gahan. All the underground hits.
All Judy Mowatt tracks. I heard you have a vinyl of every Ultimate Spinach 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 '80s cut and another box set from the '80s.
I hear you're buying a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Lizzy Mercier Descloux record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Sheep,
Joy Division,
The Cosmic Jokers,
Wolf Eyes,
Fugazi,
Eurythmics,
MDC,
The Sound,
Major Organ And The Adding Machine,
Lou Reed,
Make Up,
China Crisis,
Peter and Kerry,
JFA,
Grandmaster Flash and the Furious Five,
The Doors,
Susan Cadogan,
Jeff Mills,
the Association,
The Standells,
Excepter,
The Searchers,
The Skatalites,
The Cure,
Newcleus,
Deutsch Amerikanische Freundschaft,
Ornette Coleman,
Bootsy Collins,
Don Cherry,
Davy DMX,
Fear,
Basic Channel,
The Gun Club,
Wire,
Spandau Ballet,
The Detroit Cobras,
Alison Limerick,
Deepchord,
Howard Jones,
Fela Kuti,
Ash Ra Tempel,
Mission of Burma,
Marc Almond,
Chris & Cosey,
Ultra Naté,
Henry Cow,
The Fuzztones,
Eric Copeland,
Dawn Penn,
Jesper Dahlbäck,
Pierre Henry,
Tubeway Army,
Television Personalities,
Bobby Byrd,
Pete Rock & C.L. Smooth,
Gary Puckett & The Union Gap,
The Invisible,
Juan Atkins,
Bad Manners,
Japan,
Sad Lovers and Giants,
Kevin Saunderson,
Stetsasonic, Stetsasonic, Stetsasonic, Stetsasonic.
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.