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 Portugal and from Philadelphia.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1969 to 1976.
I'm losing my edge.
To all the kids in Milan and Philadelphia.
I'm losing my edge to the art-school Bologna 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 Lewis practice in a loft in Vancouver.
I was working on the arpeggiator sounds with much patience.
I was there when Nile Rodgers 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 Rod Modell to the jazz 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 Crispian St. Peters. All the underground hits.
All Howard Jones tracks. I heard you have a vinyl of every Terrestrial Tones record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Prunes,
Minor Threat,
Massinfluence,
Rekid,
The West Coast Pop Art Experimental Band,
The Jesus and Mary Chain,
Technova,
Dead Boys,
Sun City Girls,
The Red Krayola,
The Knickerbockers,
The Royal Family And The Poor,
Bauhaus,
Louis and Bebe Barron,
The Tremeloes,
Sugar Minott,
Intrusion,
Jerry Gold Smith,
Donny Hathaway,
Roger Hodgson,
Aural Exciters,
E-Dancer,
The Evens,
D'Angelo,
Pulsallama,
The Black Dice,
Beasts of Bourbon,
Eurythmics,
Brand Nubian,
X-Ray Spex,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Litter,
Boredoms,
Oppenheimer Analysis,
Roxy Music,
Severed Heads,
kango's stein massive,
Bad Manners,
Q65,
Soft Machine,
A Flock of Seagulls,
Sun Ra,
The Walker Brothers,
Girls At Our Best!,
David Axelrod,
Crash Course in Science,
Gang Starr,
Kango’s Stein Massive,
Kerri Chandler,
Warren Ellis,
Vainqueur,
The Neon Judgement,
Scott Walker,
Rosa Yemen,
cv313,
Bobby Byrd,
Man Eating Sloth,
Albert Ayler,
Nik Kershaw,
Newcleus,
Underground Resistance,
Bizarre Inc.,
Angry Samoans, Angry Samoans, Angry Samoans, Angry Samoans.
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.