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 South Sudan and from Lagos.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1967 to 1975.
I'm losing my edge.
To all the kids in New York and Accra.
I'm losing my edge to the art-school Houston 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 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 Charles Mingus to the punk kids.
I played it at the Troubador.
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 Visage. All the underground hits.
All Wighnomy Brothers & Robag Wruhme tracks. I heard you have a vinyl of every Joey Negro 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 '90s.
I hear you're buying a clarinet and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your mellotron and bought a snare.
I hear that you and your band have sold your snare and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slave,
Avey Tare,
The Gladiators,
The Alarm Clocks,
Ponytail,
Interpol,
The Gap Band,
The Associates,
Howard Jones,
Angels of Light & Akron/Family,
Todd Rundgren,
Letta Mbulu,
Charles Mingus,
Dave Gahan,
Pere Ubu,
Pulsallama,
Steve Hackett,
Tres Demented,
David McCallum,
The Shadows of Knight,
The Index,
Fatback Band,
The Seeds,
Inner City,
Eurythmics,
Idris Muhammad,
Kool G Rap & DJ Polo,
Joensuu 1685,
The Gun Club,
Reuben Wilson,
Scan 7,
Tubeway Army,
Beasts of Bourbon,
Aaron Thompson,
Television Personalities,
Oblivians,
Peter & Gordon,
Scientists,
Nils Olav,
Freddie Wadling,
Thee Headcoats,
Stereo Dub,
UT,
Byron Stingily,
Mad Mike,
Malaria!,
Sam Rivers,
Grandmaster Flash,
Wolf Eyes,
Bobbi Humphrey,
Livin' Joy,
Girls At Our Best!,
Radio Birdman,
Hasil Adkins,
Red Lorry Yellow Lorry,
The Cramps,
ABBA,
Crime,
Kayak,
Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux.
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.