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 United States and from Tokyo.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Sao Paulo and Halifax.
I'm losing my edge to the art-school Shanghai 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 snare 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 Pete Rock & C.L. Smooth to the disco 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 One Last Wish. All the underground hits.
All Magazine tracks. I heard you have a vinyl of every The Pop Group record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Thompson Twins record.
I hear that you and your band have sold your marimba and bought a guitar.
I hear that you and your band have sold your guitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stetsasonic,
MDC,
The Royal Family And The Poor,
Brand Nubian,
Notorious Big And Bone Thugs,
Minor Threat,
Bush Tetras,
James Chance & The Contortions,
DNA,
Ohio Players,
R.M.O.,
Deakin,
Art Ensemble Of Chicago,
Marshall Jefferson,
Cecil Taylor,
the Association,
Cluster,
Ten City,
The Monks,
Q65,
Circle Jerks,
The Kinks,
Sight & Sound,
In Retrospect,
Saccharine Trust,
Howard Jones,
Quantec,
Vaughan Mason & Crew,
Pussy Galore,
Inner City,
Camberwell Now,
Black Flag,
Massinfluence,
Barclay James Harvest,
Larry & the Blue Notes,
Mission of Burma,
Cabaret Voltaire,
Livin' Joy,
Eden Ahbez,
The Electric Prunes,
The Golliwogs,
Cybotron,
Monks,
Kool Moe Dee,
Desert Stars,
Piero Umiliani,
New York Dolls,
Agitation Free,
The Count Five,
Ken Boothe,
Dawn Penn,
Hardrive,
Pet Shop Boys,
Althea and Donna,
Cal Tjader,
The Men They Couldn't Hang,
Angels of Light & Akron/Family,
John Holt,
Funky Four + One,
Leonard Cohen,
The Chocolate Watch Band,
Echospace,
Vainqueur,
Terrestrial Tones, Terrestrial Tones, Terrestrial Tones, Terrestrial Tones.
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.