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 Ivory Coast and from Tehran.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Hong Kong and Milan.
I'm losing my edge to the art-school Winnipeg 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 guitar sounds with much patience.
I was there when Donald Fagen 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 John Foxx 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 Jacob Miller. All the underground hits.
All Jerry Gold Smith tracks. I heard you have a vinyl of every John Lydon record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a 808 and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Chocolate Watch Band record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Japan,
Laurel Aitken,
Notorious BIG live in Amsterdam,
Faraquet,
Jacob Miller,
Jeff Lynne,
The Count Five,
Second Layer,
Sonny Sharrock,
Joey Negro,
Louis and Bebe Barron,
Lou Christie,
A Certain Ratio,
Danielle Patucci,
The Victims,
Joe Smooth,
X-102,
Newcleus,
DNA,
Buzzcocks,
Orchestral Manoeuvres in the Dark,
Zero Boys,
Desert Stars,
Marmalade,
Kurtis Blow,
Gang Starr,
The Fuzztones,
Roger Hodgson,
The Cramps,
Kauko Röyhkä ja Narttu,
Hardrive,
The Smoke,
Black Bananas,
Bobbi Humphrey,
The Motions,
Hoover,
Sam Rivers,
The Five Americans,
Sarah Menescal,
Khruangbin,
Glenn Branca,
Model 500,
Rhythm & Sound,
Liliput,
Quadrant,
Quantec,
Visage,
Arthur Verocai,
The Busters,
Eve St. Jones,
Dawn Penn,
Donny Hathaway,
OOIOO,
Tres Demented,
Surgeon,
Swell Maps,
Scientists,
Deadbeat,
Arab on Radar,
Throbbing Gristle,
Jesper Dahlbäck,
Archie Shepp,
Sad Lovers and Giants,
Ultra Naté, Ultra Naté, Ultra Naté, Ultra Naté.
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.