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 Cameroon and from Toronto.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Jakarta and Mumbai.
I'm losing my edge to the art-school Madrid 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 synthesizer 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 Loose Ends to the techno 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 The Fire Engines. All the underground hits.
All Ultravox tracks. I heard you have a vinyl of every Marmalade record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Lightning Bolt record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Simply Red,
Los Fastidios,
Harpers Bizarre,
Pylon,
Red Lorry Yellow Lorry,
Nils Olav,
James Chance & The Contortions,
Slave,
Al Stewart,
Avey Tare's Slasher Flicks,
The Kinks,
Lyres,
Barclay James Harvest,
Chris & Cosey,
The Zeros,
Pharoah Sanders,
Niagra,
Crispian St. Peters,
The Angels of Light,
Technova,
Skriet,
Matthew Halsall,
Cybotron,
Funky Four + One,
Spandau Ballet,
Oppenheimer Analysis,
Arab on Radar,
The Toasters,
Goldenarms,
Make Up,
Young Marble Giants,
Scott Walker + Sunn O))),
Arcadia,
Jeff Lynne,
N.O.R.E. Featuring Pharrell,
Ralphi Rosario,
Shoche,
The Skatalites,
Sun Ra Arkestra,
Banda Bassotti,
Rapeman,
Rhythim Is Rhythim,
48th St. Collective,
Bush Tetras,
Masters at Work,
Peter & Gordon,
Pierre Henry,
The Remains,
Harry Pussy,
The Young Rascals,
Joe Smooth,
Rotary Connection,
The Smoke,
Basic Channel,
Grey Daturas,
Gang Green,
Can,
Quantec,
Liaisons Dangereuses,
Drive Like Jehu,
Louis and Bebe Barron,
T. Rex, T. Rex, T. Rex, T. Rex.
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.