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 Zambia and from Sao Paulo.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Taipei and Lille.
I'm losing my edge to the art-school Salvador 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 clarinet 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 Ken Boothe to the disco 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 Radiohead. All the underground hits.
All Bang On A Can tracks. I heard you have a vinyl of every Average White Band 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 '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Minnie Riperton record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deadbeat,
The Music Machine,
John Cale,
James White and The Blacks,
Iggy Pop,
Graham Central Station,
Eurythmics,
Dorothy Ashby,
Sly & The Family Stone,
John Holt,
Black Bananas,
Japan,
Al Stewart,
The West Coast Pop Art Experimental Band,
Jandek,
Minny Pops,
New Order,
Harry Pussy,
Blancmange,
Massinfluence,
Country Joe & The Fish,
Can,
The Kinks,
The New Christs,
David Axelrod,
Deepchord,
Crime,
The Mighty Diamonds,
Gong,
Nico,
Louis and Bebe Barron,
Camberwell Now,
Liaisons Dangereuses,
The Stooges,
Unwound,
Soft Machine,
Brothers Johnson,
Section 25,
The Neon Judgement,
The Saints,
Bob Dylan,
Fifty Foot Hose,
Parry Music,
Stereo Dub,
Porter Ricks,
Ten City,
Ornette Coleman,
Erykah Badu,
EPMD,
Sticky Fingaz feat. Raekwon,
The Vogues,
PIL,
Kings Of Tomorrow,
the Germs,
Funky Four + One,
The Index,
Yazoo,
Radiopuhelimet,
Carl Craig,
Stetsasonic,
H. Thieme,
Lucky Dragons,
The Gun Club, The Gun Club, The Gun Club, The Gun Club.
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.