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 Switzerland and from Spokane.
But I was there.
I was there in 1978.
I was there at the first Visage show in 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 1961 to 1977.
I'm losing my edge.
To all the kids in Seoul and Lagos.
I'm losing my edge to the art-school Lyon 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 1984 at the first Arcadia practice in a loft in London.
I was working on the güiro sounds with much patience.
I was there when Michael McDonald 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 Deutsch Amerikanische Freundschaft to the dance kids.
I played it at CBGB's.
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 Joe Finger. All the underground hits.
All Avey Tare's Slasher Flicks tracks. I heard you have a vinyl of every Nico record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Slits record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kerri Chandler,
Cymande,
Q and Not U,
Morten Harket,
Silicon Teens,
Bobby Womack,
The Doobie Brothers,
Ralphi Rosario,
The Alarm Clocks,
Deutsch Amerikanische Freundschaft,
The Detroit Cobras,
Franke,
Minnie Riperton,
Cabaret Voltaire,
Colin Newman,
The Black Dice,
Joe Finger,
Lyres,
A Certain Ratio,
Vainqueur,
The Mummies,
The Vogues,
Delon & Dalcan,
Tears for Fears,
Wolf Eyes,
Ornette Coleman,
10cc,
Liaisons Dangereuses,
Jerry's Kids,
Main Source,
Harry Pussy,
Wasted Youth,
Kas Product,
Man Eating Sloth,
Heaven 17,
Warsaw,
Roger Hodgson,
Dorothy Ashby,
Index,
The Count Five,
The Offenders,
the Swans,
The Misunderstood,
Y Pants,
Country Joe & The Fish,
Bobby Sherman,
Unwound,
Susan Cadogan,
Scratch Acid,
Youth Brigade,
Deadbeat,
The Music Machine,
The Standells,
Red Lorry Yellow Lorry,
June of 44,
The Buckinghams,
the Normal,
Lou Reed,
Clear Light, Clear Light, Clear Light, Clear Light.
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.