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 Andorra and from Glasgow.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Milan and Houston.
I'm losing my edge to the art-school Madrid 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 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 Suicide to the dance kids.
I played it at Trash.
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 Mars. All the underground hits.
All Ajijia Myrayebe tracks. I heard you have a vinyl of every Ajijia Myrayebe 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 '70s cut and another box set from the '70s.
I hear you're buying a theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Inner City record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Icehouse,
The Walker Brothers,
the Association,
Angry Samoans,
The New Christs,
Joyce Sims,
ABBA,
Royal Trux,
The Fuzztones,
Monolake,
B.T. Express,
The Move,
Metal Thangz,
Swans,
DNA,
Prince Buster,
Popol Vuh,
MDC,
Angels of Light & Akron/Family,
Bobby Sherman,
Andrew Ashong & Theo Parrish,
Neil Young & Crazy Horse,
Todd Rundgren,
Porter Ricks,
The Leaves,
The Fortunes,
Bootsy Collins,
Barclay James Harvest,
Echospace,
John Cale,
Electric Light Orchestra,
Qualms,
Thee Headcoats,
Justin Hinds & The Dominoes,
Vaughan Mason & Crew,
AZ,
The Selecter,
Jacob Miller,
Pharaoh Sanders and the Fire Engines,
the Sonics,
Skarface,
Ash Ra Tempel,
The Moleskins,
Deadbeat,
Tears for Fears,
OOIOO,
Lower 48,
Marcia Griffiths,
Siglo XX,
In Retrospect,
Boogie Down Productions,
Outsiders,
The Durutti Column,
The Vogues,
The Blackbyrds,
Stockholm Monsters,
The Pop Group,
New Age Steppers,
David Bowie,
The Seeds,
Flipper,
Echo & the Bunnymen,
The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang.
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.