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 Colombia and from Lagos.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Shanghai and Bologna.
I'm losing my edge to the art-school Edmonton 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 1973 at the first Television practice in a loft in New York.
I was working on the marimba 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 The Count Five to the techno kids.
I played it at the Crocodile.
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 Youth Brigade. All the underground hits.
All Aswad tracks. I heard you have a vinyl of every Minny Pops record on German import.
I heard that you have a white label of every seminal dance 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 spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Motions record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter and Kerry,
Agent Orange,
Rakim,
Fort Wilson Riot,
Albert Ayler,
Orchestral Manoeuvres in the Dark,
Smog,
Archie Shepp,
Babytalk,
Kool G Rap & DJ Polo,
X-102,
Little Man,
Ludus,
Minny Pops,
Make Up,
Ultravox,
Dave Gahan,
Letta Mbulu,
Kayak,
Cluster,
The Moody Blues,
The Kinks,
Lyres,
Vainqueur,
Spandau Ballet,
The American Breed,
T. Rex,
Dead Boys,
The New Christs,
Boogie Down Productions,
Ice-T,
Don Cherry,
Curtis Mayfield,
the Fania All-Stars,
Cabaret Voltaire,
Camron Feat. Memphis Bleek And Beenie Seigel,
The United States of America,
Guru Guru,
The Blackbyrds,
Grandmaster Flash and the Furious Five,
Joe Finger,
Sex Pistols,
The Dead C,
Amazonics,
Porter Ricks,
Al Stewart,
Kevin Saunderson,
Alphaville,
Brass Construction,
Be Bop Deluxe,
Ossler,
Chris & Cosey,
Rekid,
Liaisons Dangereuses,
10cc,
Altered Images,
Crispy Ambulance,
Gil Scott-Heron and Jamie xx,
Black Moon,
Soulsonic Force,
The Neon Judgement, The Neon Judgement, The Neon Judgement, The Neon Judgement.
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.