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 Tanzania and from Sao Paulo.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Woodstock and Johannesburg.
I'm losing my edge to the art-school Taipei 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 1979 at the first Second Layer practice in a loft in South 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 Flash Fearless 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 Eurythmics. All the underground hits.
All A Certain Ratio tracks. I heard you have a vinyl of every Sad Lovers and Giants record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Rosa Yemen record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Music Machine,
Bush Tetras,
Excepter,
Don Cherry,
Prince Buster,
DeepChord presents Echospace,
Masters at Work,
Roy Ayers,
Echo & the Bunnymen,
Danielle Patucci,
Frankie Knuckles,
Visionaries,LMNO, T- Love & Iriscience,
Rosa Yemen,
Echospace,
Throbbing Gristle,
Depeche Mode,
Eddi Front,
The Move,
Bluetip,
Grey Daturas,
K-Klass,
Al Stewart,
The Motions,
Bang On A Can,
Donny Hathaway,
Lee Hazlewood,
Underground Resistance,
Neil Young,
The Techniques,
Jimmy McGriff,
Juan Atkins,
Alice Coltrane,
John Cale,
Todd Terry,
Oppenheimer Analysis,
Stetsasonic,
Cluster,
Television Personalities,
Supertramp,
Tres Demented,
Robert Görl,
Sun Ra,
ABBA,
Aswad,
Leonard Cohen,
Ponytail,
The Residents,
Fad Gadget,
Siouxsie and the Banshees,
Little Man,
The Modern Lovers,
The Busters,
Steve Hackett,
Fugazi,
CMW,
The Leaves,
Barry Ungar,
Monolake,
The Velvet Underground,
The Human League,
Byron Stingily,
Super Lover Cee & Casanova Rud,
Selector Dub Narcotic,
Gregory Isaacs, Gregory Isaacs, Gregory Isaacs, Gregory Isaacs.
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.