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 Cuba and from Johannesburg.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Sao Paulo and New York.
I'm losing my edge to the art-school Milan 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 theremin 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 The Moleskins to the dance kids.
I played it at the Roxy.
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 Tim Buckley. All the underground hits.
All Joy Division tracks. I heard you have a vinyl of every London Community Gospel Choir 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 '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Japan 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?
Sunsets and Hearts,
Janne Schatter,
London Community Gospel Choir,
Jacob Miller,
Terrestrial Tones,
Fort Wilson Riot,
A Certain Ratio,
The Birthday Party,
L. Decosne,
Interpol,
Davy DMX,
The Dirtbombs,
Cymande,
Kool Moe Dee,
The Invisible,
Alice Coltrane,
Gil Scott-Heron & Brian Jackson,
Eddi Front,
Idris Muhammad,
Maleditus Sound,
The Music Machine,
Crash Course in Science,
Aural Exciters,
Louis and Bebe Barron,
Al Stewart,
The Golliwogs,
the Association,
The Sisters of Mercy,
Eden Ahbez,
Gang of Four,
Spandau Ballet,
Connie Case,
Gian Franco Pienzio,
Technova,
Television,
MDC,
Depeche Mode,
The Smiths,
Major Organ And The Adding Machine,
John Coltrane,
Los Fastidios,
Circle Jerks,
Livin' Joy,
Kevin Saunderson,
Minutemen,
Soulsonic Force,
Boredoms,
Eric Copeland,
Q and Not U,
LL Cool J,
Roy Ayers Ubiquity,
Jacques Brel,
Marine Girls,
the Bar-Kays,
Guru Guru,
Public Enemy,
Au Pairs,
Fifty Foot Hose,
Sixth Finger,
Magazine,
Banda Bassotti,
Captain Beefheart & His Magic Band,
Leonard Cohen, Leonard Cohen, Leonard Cohen, Leonard Cohen.
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.