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 Andorra and from Winnipeg.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Tokyo and Shanghai.
I'm losing my edge to the art-school Sao Paulo 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 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 The Men They Couldn't Hang to the rock kids.
I played it at the Hacienda.
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 Bill Near. All the underground hits.
All Stockholm Monsters tracks. I heard you have a vinyl of every Nation of Ulysses 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 '50s cut and another box set from the '70s.
I hear you're buying a linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a the Soft Cell record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Foxx,
Visionaries,LMNO, T- Love & Iriscience,
The Dead C,
Mandrill,
Ossler,
Gang Starr,
Goldenarms,
Chrome,
Kool G Rap & DJ Polo,
Monks,
Eli Mardock,
Terry Callier,
Deepchord,
Electric Light Orchestra,
JFA,
Public Enemy,
Cybotron,
The Invisible,
The Stooges,
Morten Harket,
Bang On A Can,
Jesper Dahlbäck,
Suicide,
Interpol,
MDC,
Rod Modell,
The Remains,
Crooked Eye,
Ultra Naté,
The Real Kids,
Unrelated Segments,
The Golliwogs,
Lyres,
Erykah Badu,
Pharaoh Sanders and the Fire Engines,
The Sonics,
Loose Ends,
DJ Sneak,
Popol Vuh,
Joy Division,
Minny Pops,
Neil Young & Crazy Horse,
the Sonics,
Amazonics,
Swell Maps,
Half Japanese,
The Associates,
Jeru the Damaja,
Bill Wells,
Leonard Cohen,
Isaac Hayes,
Sugar Minott,
Rekid,
Eve St. Jones,
Masters at Work,
R.M.O.,
Lakeside,
Lee Hazlewood,
Black Flag,
Boogie Down Productions,
Colin Newman,
John Cale,
China Crisis,
the Human League, the Human League, the Human League, the Human League.
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.