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 Canada and from Bremen.
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 1971.
I'm losing my edge.
To all the kids in Portland and Copenhagen.
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 synthesizer sounds with much patience.
I was there when Lou Reed 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 Tubeway Army to the crunk 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 Gian Franco Pienzio. All the underground hits.
All Fluxion tracks. I heard you have a vinyl of every Eyeless In Gaza record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Audionom,
Khruangbin,
Das Ding,
The Walker Brothers,
Parry Music,
The Human League,
The Motions,
June of 44,
Jacob Miller,
Moebius,
Jawbox,
Rowland S Howard / Lydia Lunch,
Black Bananas,
The Leaves,
Zero Boys,
The Velvet Underground,
Tubeway Army,
cv313,
Funky Four + One,
Avey Tare's Slasher Flicks,
Marc Almond,
Thompson Twins,
Roxy Music,
Reagan Youth,
Matthew Halsall,
Vladislav Delay,
Lalo Schifrin,
Gabor Szabo,
Marine Girls,
Goldenarms,
A Certain Ratio,
It's A Beautiful Day,
Robert Hood,
Aloha Tigers,
Deutsch Amerikanische Freundschaft,
EPMD,
Eurythmics,
Ten City,
PIL,
China Crisis,
The West Coast Pop Art Experimental Band,
Alton Ellis,
Drexciya,
Ponytail,
Judy Mowatt,
Motorama,
Derrick May,
Procol Harum,
Rufus Thomas,
New Age Steppers,
Urselle,
Blake Baxter,
Lafayette Afro Rock Band,
Pole,
Sun Ra Arkestra,
the Swans,
Sonny Sharrock,
Jeff Lynne,
Animal Collective,
The Kinks,
Camouflage,
Radiopuhelimet,
New York Dolls, New York Dolls, New York Dolls, New York Dolls.
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.