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 Yemen and from Tokyo.
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 1970.
I'm losing my edge.
To all the kids in Spokane and Mumbai.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the chamberlin 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 Bluetip to the electroclash kids.
I played it at the Hacienda.
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 Alphaville. All the underground hits.
All Grandmaster Flash and the Furious Five tracks. I heard you have a vinyl of every Scientists 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 '50s cut and another box set from the '80s.
I hear you're buying a snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Stooges record.
I hear that you and your band have sold your 808 and bought a marimba.
I hear that you and your band have sold your marimba and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fatback Band,
Soft Cell,
Rufus Thomas,
Pulsallama,
Roy Ayers Ubiquity,
Morten Harket,
David Axelrod,
Minutemen,
Unrelated Segments,
Bush Tetras,
Anakelly,
Liliput,
B.T. Express,
Drive Like Jehu,
X-Ray Spex,
Henry Cow,
Mo-Dettes,
Mark Hollis,
Babytalk,
Section 25,
Peter and Kerry,
Panda Bear,
Au Pairs,
U.S. Maple,
Interpol,
Jerry's Kids,
Audionom,
Hardrive,
The Trojans,
This Heat,
Bootsy Collins,
Tropical Tobacco,
FM Einheit,
Kurtis Blow,
The Tremeloes,
Stetsasonic,
James Chance & The Contortions,
The Move,
Johnny Osbourne,
Grandmaster Flash and the Furious Five,
Marc Romboy vs. Booka Shade,
Curtis Mayfield,
Jeff Lynne,
The Mighty Diamonds,
Susan Cadogan,
Alphaville,
R.M.O.,
Visionaries,LMNO, T- Love & Iriscience,
Louis and Bebe Barron,
Super Lover Cee & Casanova Rud,
The Gladiators,
Gastr Del Sol,
The Star Department,
Jandek,
CMW,
Cabaret Voltaire,
Blake Baxter,
Gichy Dan,
KRS-One,
Shoche,
The Blackbyrds,
Bad Manners,
Average White Band,
The Cosmic Jokers, The Cosmic Jokers, The Cosmic Jokers, The Cosmic Jokers.
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.