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 Azerbaijan and from Stockholm.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Columbus and Woodstock.
I'm losing my edge to the art-school Columbus 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the clarinet 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 Lucky Dragons 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 Yellowson. All the underground hits.
All Piero Umiliani tracks. I heard you have a vinyl of every Model 500 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 '80s cut and another box set from the '90s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Remains record.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Near,
Siouxsie and the Banshees,
The Electric Prunes,
Lindisfarne,
Junior Murvin,
Arab on Radar,
Eurythmics,
Intrusion,
Sister Nancy,
James White and The Blacks,
Jeff Lynne,
Pole,
Leonard Cohen,
Gang Starr,
Terrestrial Tones,
Soul II Soul,
Gang Gang Dance,
Fugazi,
Gichy Dan,
Marc Romboy vs. Booka Shade,
The Mighty Diamonds,
Grandmaster Flash and the Furious Five,
The Divine Comedy,
Oblivians,
Laurel Aitken,
The Martian,
Mission of Burma,
Kango’s Stein Massive,
Oppenheimer Analysis,
Crispy Ambulance,
Freddie Wadling,
Absolute Body Control,
Kurtis Blow,
Janne Schatter,
PIL,
Rhythim Is Rhythim,
Monolake,
Jacob Miller,
DJ Sneak,
The Tremeloes,
Lebanon Hanover,
Sexual Harrassment,
Bobby Byrd,
Stiv Bators,
Connie Case,
Depeche Mode,
Louis and Bebe Barron,
The Victims,
Barbara Tucker,
Ronnie Foster,
The Velvet Underground,
Strawberry Alarm Clock,
Deadbeat,
Cheater Slicks,
Roxette,
Steve Hackett,
Flash Fearless,
The Slackers,
Bobby Womack,
Lou Reed,
Rowland S Howard / Lydia Lunch,
Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars.
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.