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 Kiribati and from Shanghai.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Houston and Calgary.
I'm losing my edge to the art-school Jakarta 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 guitar sounds with much patience.
I was there when Captain Beefheart 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 In Retrospect to the funk kids.
I played it at the Spitz.
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 Soul Sonic Force. All the underground hits.
All Slick Rick tracks. I heard you have a vinyl of every Bang on a Can All-Stars record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Richard Hell and the Voidoids record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pop Group,
Eve St. Jones,
E-Dancer,
Josef K,
A Certain Ratio,
Leonard Cohen,
Wolf Eyes,
Das Ding,
The Fall,
Dennis Brown,
Liaisons Dangereuses,
ABC,
Orchestral Manoeuvres in the Dark,
Bizarre Inc.,
The Monks,
The Vogues,
Matthew Bourne,
World's Most,
Pharaoh Sanders and the Fire Engines,
Bobby Byrd,
Charles Mingus,
Crash Course in Science,
Avey Tare's Slasher Flicks,
Janne Schatter,
Shuggie Otis,
Neil Young & Crazy Horse,
Nils Olav,
Ice-T,
Suicide,
Spoonie Gee,
Von Mondo,
The Cosmic Jokers,
One Last Wish,
T.S.O.L.,
Susan Cadogan,
Dual Sessions,
Schoolly D,
Pylon,
Kool G Rap & DJ Polo,
Beasts of Bourbon,
Derrick May,
Nick Fraelich,
Second Layer,
Negative Approach,
Jacques Brel,
Lonnie Liston Smith,
Howard Jones,
PIL,
Procol Harum,
Eurythmics,
Chrome,
Index,
Teenage Jesus and the Jerks,
Y Pants,
Black Moon,
Aaron Thompson,
Guru Guru,
Rufus Thomas,
The Five Americans,
Lalo Schifrin,
The Gun Club,
Angels of Light & Akron/Family,
Spandau Ballet, Spandau Ballet, Spandau Ballet, Spandau Ballet.
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.