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 Guyana and from Accra.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Lagos and Winnipeg.
I'm losing my edge to the art-school Hong Kong 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 at the first Suicide practice in a loft in New York.
I was working on the 808 sounds with much patience.
I was there when Lou Reed 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 Scratch Acid to the dance kids.
I played it at the Spitz.
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 Cluster. All the underground hits.
All Fat Boys tracks. I heard you have a vinyl of every Marcia Griffiths record on German import.
I heard that you have a white label of every seminal grunge 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 spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Clear Light record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tropical Tobacco,
Icehouse,
Aswad,
The Real Kids,
Albert Ayler,
Unrelated Segments,
Skriet,
Tubeway Army,
Alison Limerick,
MC5,
The Names,
The Monochrome Set,
Camron Feat. Memphis Bleek And Beenie Seigel,
Ultravox,
La Düsseldorf,
June of 44,
Sly & The Family Stone,
Boogie Down Productions,
Radiopuhelimet,
Matthew Bourne,
Talk Talk,
Peter Gordon & Love of Life Orchestra,
Beasts of Bourbon,
Avey Tare & Kría Brekkan,
Cameo,
Accadde A,
The Electric Prunes,
Skaos,
The Walker Brothers,
Roy Ayers Ubiquity,
The Trojans,
Isaac Hayes,
Marvin Gaye,
China Crisis,
Circle Jerks,
Siglo XX,
Joyce Sims,
Popol Vuh,
Livin' Joy,
Throbbing Gristle,
X-Ray Spex,
James White and The Blacks,
Gerry Rafferty,
Lafayette Afro Rock Band,
The Busters,
Ultimate Spinach,
Notorious Big And Bone Thugs,
Adolescents,
Michelle Simonal,
Fifty Foot Hose,
Ajijia Myrayebe,
The Dave Clark Five,
Sandy B,
Symarip,
Hoover,
Bobbi Humphrey,
Kings Of Tomorrow,
The Doobie Brothers,
Eric B and Rakim,
Joe Finger,
Lou Christie,
The Grass Roots,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.