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 Costa Rica and from Manchester.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Mexico City and Edmonton.
I'm losing my edge to the art-school Spokane 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 linndrum 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 Blancmange to the funk kids.
I played it at the Crocodile.
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 This Heat. All the underground hits.
All Dorothy Ashby tracks. I heard you have a vinyl of every Pantytec record on German import.
I heard that you have a white label of every seminal electroclash 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 an organ and are throwing your macbook out the window because you want to make something real. You want to make a Be Bop Deluxe record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Symarip,
Rufus Thomas,
Lizzy Mercier Descloux,
The Moleskins,
Glambeats Corp.,
The Pop Group,
This Heat,
Letta Mbulu,
Lalo Schifrin,
Pulsallama,
The Men They Couldn't Hang,
Joe Finger,
Hasil Adkins,
Faraquet,
Country Joe & The Fish,
Sonic Youth,
The West Coast Pop Art Experimental Band,
Television Personalities,
The Kinks,
Main Source,
Au Pairs,
the Association,
Black Sheep,
Orchestral Manoeuvres in the Dark,
X-102,
Lebanon Hanover,
The Dead C,
FM Einheit,
Freddie Wadling,
The Cramps,
Lungfish,
Easy Going,
Grey Daturas,
Derrick May,
Skriet,
Underground Resistance,
Dual Sessions,
Fat Boys,
Shuggie Otis,
Ronan,
Ultimate Spinach,
The Modern Lovers,
Al Stewart,
Pharaoh Sanders and the Fire Engines,
DJ Sneak,
Carl Craig,
Sugar Minott,
Jerry Gold Smith,
De La Soul & Jungle Brothers,
Bang on a Can All-Stars,
Grandmaster Flash and the Furious Five,
Bluetip,
The Red Krayola,
Robert Hood,
Aswad,
The Beau Brummels,
Jeff Mills,
Bootsy's Rubber Band,
Bauhaus,
Aural Exciters,
Andrew Ashong & Theo Parrish,
Juan Atkins,
Danielle Patucci,
Smog, Smog, Smog, Smog.
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.