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 East Timor and from Seoul.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Woodstock and Copenhagen.
I'm losing my edge to the art-school Houston 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the oboe sounds with much patience.
I was there when Holger Czukay 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 Sarah Menescal to the electroclash kids.
I played it at the 40 Watt.
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 Gerry Rafferty. All the underground hits.
All The Associates tracks. I heard you have a vinyl of every Grauzone 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 '50s cut and another box set from the '90s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ohio Players,
Gang Gang Dance,
Swans,
Sad Lovers and Giants,
Icehouse,
Gian Franco Pienzio,
Joey Negro,
Scott Walker + Sunn O))),
R.M.O.,
Lungfish,
Zapp,
Heavy D & The Boyz,
Saccharine Trust,
The Gap Band,
Gabor Szabo,
Letta Mbulu,
Motorama,
Prince Buster,
Lou Reed & John Cale,
The Five Americans,
Smog,
Loose Ends,
The Tremeloes,
10cc,
Jacob Miller,
The Gladiators,
Girls At Our Best!,
The Fuzztones,
The Dead C,
Roxy Music,
The Velvet Underground,
Funkadelic,
The Moody Blues,
Sister Nancy,
Gastr Del Sol,
The Young Rascals,
Eric Copeland,
Bang on a Can All-Stars,
Quando Quango,
A Flock of Seagulls,
Anthony Braxton,
Stockholm Monsters,
The Fortunes,
Sexual Harrassment,
The Techniques,
Andrew Hill,
The Cure,
The Men They Couldn't Hang,
Mo-Dettes,
Crooked Eye,
Pet Shop Boys,
Max Romeo,
The Smiths,
New York Dolls,
Absolute Body Control,
Quantec,
Oblivians,
The Birthday Party,
Organ,
Chris & Cosey,
Eddi Front,
The Remains, The Remains, The Remains, The Remains.
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.