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 Tunisia and from Mexico City.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Johannesburg and Shanghai.
I'm losing my edge to the art-school Woodstock 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 organ 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 Richard Hell and the Voidoids to the dance kids.
I played it at the Troubador.
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 The Shadows of Knight. All the underground hits.
All The Mummies tracks. I heard you have a vinyl of every Jacques Brel 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 '90s.
I hear you're buying an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Das Ding record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
FM Einheit,
Franke,
Fela Kuti,
Trumans Water,
the Swans,
Piero Umiliani,
Theoretical Girls,
David McCallum,
Liaisons Dangereuses,
Deepchord,
Gang Starr,
Johnny Osbourne,
Stetsasonic,
Pete Rock & C.L. Smooth,
Arthur Verocai,
Wings,
Joyce Sims,
Iggy Pop,
Bang On A Can,
Quadrant,
Bizarre Inc.,
Kauko Röyhkä ja Narttu,
The Shadows of Knight,
La Düsseldorf,
Danielle Patucci,
Bluetip,
Faraquet,
Wally Richardson,
Dave Gahan,
The Happenings,
Gang Gang Dance,
Vaughan Mason & Crew,
Grandmaster Flash and the Furious Five,
Avey Tare's Slasher Flicks,
Eric Dolphy,
Scott Walker,
Agent Orange,
Lou Christie,
This Heat,
The Mummies,
The Saints,
Captain Beefheart & His Magic Band,
Main Source,
X-Ray Spex,
Todd Terry,
The Standells,
Gregory Isaacs,
Bobby Hutcherson,
Matthew Halsall,
Pulsallama,
Angry Samoans,
Young Marble Giants,
Soft Machine,
Eurythmics,
Public Image Ltd.,
Flash Fearless,
The Fuzztones,
Interpol,
Laurel Aitken, Laurel Aitken, Laurel Aitken, Laurel Aitken.
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.