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 Spain 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 1968 to 1973.
I'm losing my edge.
To all the kids in Manila and Madrid.
I'm losing my edge to the art-school Copenhagen 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the güiro 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 Junior Murvin to the rap kids.
I played it at Trash.
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 Chris Corsano. All the underground hits.
All Goldenarms tracks. I heard you have a vinyl of every Bauhaus record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Fall 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?
Dead Boys,
Ohio Players,
Sister Nancy,
Rahsaan Roland Kirk,
Ossler,
The Sisters of Mercy,
Gastr Del Sol,
Can,
Isaac Hayes,
Cluster,
Deakin,
The Index,
DNA,
Orchestral Manoeuvres in the Dark,
Robert Görl,
Mary Jane Girls,
Steve Hackett,
Easy Going,
Lonnie Liston Smith,
Roger Hodgson,
Ice-T,
Shoche,
Bootsy Collins,
Throbbing Gristle,
Qualms,
Justin Hinds & The Dominoes,
John Foxx,
Scott Walker + Sunn O))),
Spandau Ballet,
Erasure,
Godley & Creme,
Little Man,
Depeche Mode,
Warsaw,
Art Ensemble Of Chicago,
Audionom,
Howard Jones,
X-102,
Roy Ayers Ubiquity,
Lou Christie,
A Flock of Seagulls,
Minny Pops,
John Lydon,
Blossom Toes,
E-Dancer,
Manfred Mann's Earth Band,
Crash Course in Science,
Surgeon,
The Standells,
Richard Hell and the Voidoids,
F. McDonald,
The Motions,
Franke,
Albert Ayler,
Reuben Wilson,
Kaleidoscope,
Dave Gahan,
The Remains,
Rhythm & Sound,
Peter and Kerry,
Ornette Coleman,
Barry Ungar, Barry Ungar, Barry Ungar, Barry Ungar.
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.