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 Namibia and from Manila.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Milan and Philadelphia.
I'm losing my edge to the art-school Bremen 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 guitar 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 Bill Wells to the rap kids.
I played it at the 40 Watt.
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 Glenn Branca. All the underground hits.
All Richard Hell and the Voidoids tracks. I heard you have a vinyl of every Sexual Harrassment record on German import.
I heard that you have a white label of every seminal funk 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 harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Audionom record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bob Dylan,
The Knickerbockers,
Interpol,
Morten Harket,
Public Image Ltd.,
Jacques Brel,
Marine Girls,
Scion,
Black Bananas,
Animal Collective,
Altered Images,
Lou Reed & John Cale,
Selector Dub Narcotic,
Wolf Eyes,
Schoolly D,
Babytalk,
Ajijia Myrayebe,
Suburban Knight,
Delon & Dalcan,
Angry Samoans,
Ornette Coleman,
Peter & Gordon,
The Velvet Underground,
Kayak,
Gil Scott-Heron and Jamie xx,
Bobby Byrd,
The Cramps,
Terry Callier,
The Grass Roots,
Peter Gordon & Love of Life Orchestra,
Eric Dolphy,
Inner City,
James Chance & The Contortions,
Siouxsie and the Banshees,
Gong,
Bush Tetras,
Spoonie Gee,
Accadde A,
The Martian,
The Durutti Column,
Art Ensemble Of Chicago,
CMW,
Manfred Mann's Earth Band,
Sam Rivers,
Eric Copeland,
Sixth Finger,
Roy Ayers,
Maurizio,
Chris & Cosey,
Anthony Braxton,
the Soft Cell,
Silicon Teens,
Wighnomy Brothers & Robag Wruhme,
Gregory Isaacs,
E-Dancer,
Los Fastidios,
Loose Ends,
The Moleskins,
Bauhaus,
Grey Daturas,
Skriet,
Boz Scaggs, Boz Scaggs, Boz Scaggs, Boz Scaggs.
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.