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 Madagascar 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 1962 to 1971.
I'm losing my edge.
To all the kids in Glasgow and Taipei.
I'm losing my edge to the art-school Woodstock 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 clarinet 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 Sad Lovers and Giants to the disco kids.
I played it at the Hacienda.
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 Livin' Joy. All the underground hits.
All Dorothy Ashby tracks. I heard you have a vinyl of every James Chance & The Contortions 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 '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Lebanon Hanover record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Last Poets,
Gregory Isaacs,
Ornette Coleman,
Pulsallama,
The Pop Group,
F. McDonald,
K-Klass,
H. Thieme,
Gian Franco Pienzio,
Visage,
The Black Dice,
Traffic Nightmare,
kango's stein massive,
Section 25,
EPMD,
Harpers Bizarre,
The Flesh Eaters,
Radiopuhelimet,
Suburban Knight,
Faraquet,
Sonic Youth,
Mr. Review,
Pete Rock & C.L. Smooth,
Pantaleimon,
Bill Wells,
Derrick May,
Erykah Badu,
Organ,
Rosa Yemen,
the Human League,
Half Japanese,
Blake Baxter,
The West Coast Pop Art Experimental Band,
The Fall,
Jacques Brel,
The Zeros,
Manfred Mann's Earth Band,
Nico,
Ultramagnetic MC's,
8 Eyed Spy,
The Mummies,
The Doobie Brothers,
Hoover,
Ituana,
Tim Buckley,
Ralphi Rosario,
Sex Pistols,
Outsiders,
Aural Exciters,
Lakeside,
Young Marble Giants,
Sly & The Family Stone,
Lou Reed,
Lonnie Liston Smith,
Hardrive,
Althea and Donna,
Maleditus Sound,
Lindisfarne,
Soul Sonic Force,
Harry Pussy,
Notorious BIG live in Amsterdam,
The Associates, The Associates, The Associates, The Associates.
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.