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 Kenya and from Beijing.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Tehran and Portland.
I'm losing my edge to the art-school Philadelphia 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 1977 at the first Mistral practice in a loft in Amsterdam.
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 Little Man to the crunk kids.
I played it at the Astoria.
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 Doors. All the underground hits.
All The Happenings tracks. I heard you have a vinyl of every Grey Daturas record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Ohio Players record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
Monks,
Rotary Connection,
Duran Duran,
Maleditus Sound,
The Pop Group,
Neu!,
Iggy Pop,
Index,
The Searchers,
Ken Boothe,
Swell Maps,
Amon Düül,
Rekid,
The Fortunes,
Rosa Yemen,
Warsaw,
Bill Wells,
Warren Ellis,
A Certain Ratio,
Eli Mardock,
Yaz,
Josef K,
Newcleus,
Eric Copeland,
Alison Limerick,
Motorama,
The Names,
The Slackers,
Whodini,
Major Organ And The Adding Machine,
The Remains,
The Seeds,
Reagan Youth,
Brick,
Big Daddy Kane,
Ossler,
Tubeway Army,
Quantec,
Glenn Branca,
Easy Going,
The Chocolate Watch Band,
John Holt,
Jandek,
Davy DMX,
Liliput,
The Gories,
Nik Kershaw,
Roy Ayers,
The Fire Engines,
Sparks,
London Community Gospel Choir,
The Leaves,
Jesper Dahlbäck,
Babytalk,
Negative Approach,
Faraquet,
New Age Steppers,
the Sonics,
Nick Fraelich,
Silicon Teens,
The Peanut Butter Conspiracy,
Lou Christie,
X-102, X-102, X-102, X-102.
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.