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 Libya and from Madrid.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Shanghai and New York.
I'm losing my edge to the art-school Shanghai 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 808 sounds with much patience.
I was there when Nile Rodgers 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 Birthday Party to the rap 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 Warsaw. All the underground hits.
All The Moody Blues tracks. I heard you have a vinyl of every The Velvet Underground 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 '50s cut and another box set from the '80s.
I hear you're buying a 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Deutsch Amerikanische Freundschaft record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
June Days,
Chrome,
Buzzcocks,
Kauko Röyhkä ja Narttu,
The Selecter,
Gian Franco Pienzio,
The Cramps,
Wolf Eyes,
Average White Band,
The Evens,
Marc Romboy vs. Booka Shade,
Orchestral Manoeuvres in the Dark,
Anthony Braxton,
Bootsy Collins,
Pierre Henry,
Pere Ubu,
Half Japanese,
U.S. Maple,
Goldenarms,
Brothers Johnson,
Essential Logic,
Lucky Dragons,
Dark Day,
Deadbeat,
David Axelrod,
Sun City Girls,
Art Ensemble Of Chicago,
Black Pus,
The Busters,
F. McDonald,
Ash Ra Tempel,
Chris Corsano,
Easy Going,
Livin' Joy,
Marcia Griffiths,
Mark Hollis,
Bluetip,
Lakeside,
MDC,
Jeff Mills,
Spandau Ballet,
Crispy Ambulance,
Von Mondo,
Suicide,
Peter & Gordon,
B.T. Express,
PIL,
The Jesus and Mary Chain,
Yazoo,
Deepchord,
China Crisis,
Brass Construction,
Kerri Chandler,
Pulsallama,
Popol Vuh,
Grey Daturas,
Aaron Thompson,
Lower 48,
Ajijia Myrayebe,
Sällskapet,
Matthew Halsall,
Graham Central Station,
Scrapy, Scrapy, Scrapy, Scrapy.
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.