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 Tuvalu and from Hong Kong.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Hong Kong and Houston.
I'm losing my edge to the art-school Delhi 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 1978 at the first Visage practice in a loft in London.
I was working on the harpsichord 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 Black Flag to the dance kids.
I played it at the Astoria.
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 Pharaoh Sanders and the Fire Engines. All the underground hits.
All Dorothy Ashby tracks. I heard you have a vinyl of every Cecil Taylor record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a New Order record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spoonie Gee,
Accadde A,
Pantaleimon,
Ajijia Myrayebe,
Joe Finger,
Deakin,
the Human League,
The Martian,
Interpol,
Lalo Schifrin,
Public Image Ltd.,
Technova,
Matthew Halsall,
The West Coast Pop Art Experimental Band,
Sun City Girls,
Funkadelic,
Aaron Thompson,
The New Christs,
James White and The Blacks,
Scan 7,
Gil Scott-Heron & Brian Jackson,
LL Cool J,
Sunsets and Hearts,
Subhumans,
Yaz,
Leonard Cohen,
Reuben Wilson,
Gang of Four,
Circle Jerks,
Bluetip,
The Real Kids,
Bobby Womack,
X-102,
Buzzcocks,
Kayak,
Todd Terry,
The Leaves,
The Doobie Brothers,
John Foxx,
The Smoke,
Maleditus Sound,
Clear Light,
Sparks,
Avey Tare's Slasher Flicks,
Blancmange,
Porter Ricks,
Pet Shop Boys,
Marine Girls,
Fad Gadget,
Curtis Mayfield,
The Mighty Diamonds,
The Sound,
the Normal,
Art Ensemble Of Chicago,
Unrelated Segments,
Kenny Larkin,
Roy Ayers,
ABC,
Toni Rubio,
The Victims,
Althea and Donna,
Franke,
June Days, June Days, June Days, June Days.
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.