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 Ivory Coast 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 1968 to 1970.
I'm losing my edge.
To all the kids in Paris and Accra.
I'm losing my edge to the art-school Cairo 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 harpsichord 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 Symarip to the techno kids.
I played it at Cafe Wha.
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 Joensuu 1685. All the underground hits.
All Peter Gordon & Love of Life Orchestra tracks. I heard you have a vinyl of every Camouflage record on German import.
I heard that you have a white label of every seminal jazz 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 guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a D'Angelo record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Surgeon,
Camouflage,
The Blues Magoos,
Pantaleimon,
The Residents,
Cabaret Voltaire,
The Angels of Light,
Hot Snakes,
Avey Tare & Kría Brekkan,
Jesper Dahlbäck,
The Grass Roots,
Essential Logic,
Big Daddy Kane,
Flamin' Groovies,
The Modern Lovers,
Soft Machine,
Reuben Wilson,
Althea and Donna,
Joy Division,
New Age Steppers,
The West Coast Pop Art Experimental Band,
Desert Stars,
Fela Kuti,
Johnny Osbourne,
Robert Wyatt,
Dark Day,
Lizzy Mercier Descloux,
Robert Görl,
L. Decosne,
Grauzone,
Gabor Szabo,
Can,
Wire,
Ice-T,
Whodini,
Gang of Four,
Kings Of Tomorrow,
Amon Düül II,
The Electric Prunes,
Subhumans,
Kevin Saunderson,
Susan Cadogan,
Thompson Twins,
The Men They Couldn't Hang,
the Slits,
Public Enemy,
Amazonics,
Camberwell Now,
Louis and Bebe Barron,
Agent Orange,
Ornette Coleman,
Man Parrish,
The Sonics,
Fugazi,
Godley & Creme,
Sexual Harrassment,
Cal Tjader,
Soulsonic Force,
The Raincoats,
Groovy Waters,
Siouxsie and the Banshees,
Sun City Girls,
Zero Boys,
The Cure,
New Order, New Order, New Order, New Order.
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.