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 Spain and from Salvador.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1969 to 1973.
I'm losing my edge.
To all the kids in New York and Bremen.
I'm losing my edge to the art-school London 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 oboe 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 Radio Birdman to the dance 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 Scott Walker. All the underground hits.
All T. Rex tracks. I heard you have a vinyl of every Gang Starr 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 '70s cut and another box set from the '90s.
I hear you're buying a mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Jacques Brel record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Junior Murvin,
Sight & Sound,
The Slackers,
Blancmange,
Crispian St. Peters,
Aswad,
Ken Boothe,
Notorious Big And Bone Thugs,
Skaos,
Bang On A Can,
Jimmy McGriff,
Drive Like Jehu,
Slick Rick,
Icehouse,
Gang Gang Dance,
Slave,
The Dave Clark Five,
Juan Atkins,
Au Pairs,
Peter and Kerry,
Deakin,
Lightning Bolt,
Desert Stars,
Chrome,
Shuggie Otis,
Jesper Dahlbäck,
The Saints,
The Sisters of Mercy,
FM Einheit,
Dawn Penn,
Glambeats Corp.,
cv313,
Mark Hollis,
Visage,
The American Breed,
T. Rex,
Crash Course in Science,
Joey Negro,
Make Up,
Althea and Donna,
Sun Ra,
Chris & Cosey,
James Chance & The Contortions,
Youth Brigade,
The Fugs,
The Angels of Light,
The Sound,
Minnie Riperton,
Bob Dylan,
The Gladiators,
Urselle,
Cymande,
The Flesh Eaters,
Scrapy,
the Association,
Jandek,
Ultra Naté,
E-Dancer,
The Trojans,
Amon Düül II, Amon Düül II, Amon Düül II, Amon Düül II.
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.