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 Liechtenstein and from Johannesburg.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 Philadelphia and Johannesburg.
I'm losing my edge to the art-school Tehran 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 sitar 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 Liliput to the rap kids.
I played it at the 40 Watt.
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 Masters at Work. All the underground hits.
All The Last Poets tracks. I heard you have a vinyl of every Lou Reed & Metallica 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 '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Nico record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yazoo,
Blancmange,
Joensuu 1685,
Frankie Knuckles,
The Offenders,
Skaos,
The Jesus and Mary Chain,
Hasil Adkins,
Grandmaster Flash and the Furious Five,
The Slackers,
Public Enemy,
Byron Stingily,
E-Dancer,
Sound Behaviour,
Negative Approach,
Deepchord,
Donny Hathaway,
The Barracudas,
Big Daddy Kane,
Selector Dub Narcotic,
Al Stewart,
Spoonie Gee,
Alphaville,
The Sisters of Mercy,
Television Personalities,
Echospace,
Mr. Review,
Glenn Branca,
The Gladiators,
Animal Collective,
Pussy Galore,
Scratch Acid,
Mad Mike,
Richard Hell and the Voidoids,
Rosa Yemen,
John Cale,
Dark Day,
David Axelrod,
Siouxsie and the Banshees,
Sandy B,
Jacques Brel,
Kenny Larkin,
Bronski Beat,
48th St. Collective,
Morten Harket,
The Fall,
The Searchers,
the Association,
Notorious Big And Bone Thugs,
Flash Fearless,
Cecil Taylor,
The Durutti Column,
Rapeman,
Y Pants,
X-Ray Spex,
Ash Ra Tempel,
Ice-T,
Sonic Youth,
Bang On A Can,
Chris & Cosey,
Vaughan Mason & Crew,
Cybotron,
Amon Düül II,
Shuggie Otis, Shuggie Otis, Shuggie Otis, Shuggie Otis.
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.