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 Algeria and from Philadelphia.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1962 to 1970.
I'm losing my edge.
To all the kids in Tehran and Mexico City.
I'm losing my edge to the art-school Glasgow 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 arpeggiator 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 Patti Smith to the grunge 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 Rakim. All the underground hits.
All Bauhaus tracks. I heard you have a vinyl of every The Selecter record on German import.
I heard that you have a white label of every seminal disco 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 an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Duran Duran record.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Modern Lovers,
Faust,
Ultra Naté,
The Searchers,
L. Decosne,
Richard Hell and the Voidoids,
Harry Pussy,
Massinfluence,
The Music Machine,
Selector Dub Narcotic,
Brass Construction,
Unwound,
Black Moon,
Derrick Morgan,
Hot Snakes,
Robert Görl,
The Mojo Men,
Cheater Slicks,
The Gladiators,
Mission of Burma,
The Human League,
Gichy Dan,
Au Pairs,
The Last Poets,
Gang Gang Dance,
Babytalk,
Audionom,
Graham Central Station,
Erasure,
John Lydon,
Super Lover Cee & Casanova Rud,
Little Man,
Dead Boys,
Peter Gordon & Love of Life Orchestra,
U.S. Maple,
The Slackers,
Kango’s Stein Massive,
Sonny Sharrock,
Ultimate Spinach,
Unrelated Segments,
The Divine Comedy,
Marcia Griffiths,
Absolute Body Control,
Second Layer,
Parry Music,
the Slits,
Urselle,
Flash Fearless,
Radiohead,
Rites of Spring,
Sister Nancy,
Yusef Lateef,
Accadde A,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Supertramp,
Ash Ra Tempel,
Joe Smooth,
the Normal,
DJ Style,
Wings,
X-Ray Spex,
The Monochrome Set,
Peter and Kerry,
Howard Jones, Howard Jones, Howard Jones, Howard Jones.
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.