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 Lesotho and from Tokyo.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Manchester and Hong Kong.
I'm losing my edge to the art-school Delhi 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 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 These Immortal Souls to the dance kids.
I played it at the Troubador.
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 Tommy Roe. All the underground hits.
All The Victims tracks. I heard you have a vinyl of every The Fire Engines record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an organ and an arpeggiator 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 harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Supertramp,
DJ Sneak,
The Gap Band,
Sunsets and Hearts,
Gary Puckett & The Union Gap,
The Gladiators,
Rod Modell,
Silicon Teens,
Dennis Brown,
Tomorrow,
Bush Tetras,
Negative Approach,
Bizarre Inc.,
Bronski Beat,
Ralphi Rosario,
The Fire Engines,
Peter Gordon & Love of Life Orchestra,
Y Pants,
Sun Ra Arkestra,
Jacques Brel,
Sexual Harrassment,
Freddie Wadling,
Ajijia Myrayebe,
48th St. Collective,
The American Breed,
The Martian,
Fat Boys,
Young Marble Giants,
Ultravox,
Minutemen,
Parry Music,
Joe Finger,
Dorothy Ashby,
Pet Shop Boys,
The Fall,
Bill Near,
X-Ray Spex,
Andrew Ashong & Theo Parrish,
Gang Starr,
Leonard Cohen,
Janne Schatter,
Arab on Radar,
Camberwell Now,
Shoche,
Barclay James Harvest,
The West Coast Pop Art Experimental Band,
Prince Buster,
Steve Hackett,
the Soft Cell,
Groovy Waters,
Absolute Body Control,
Lindisfarne,
Rakim,
Crispian St. Peters,
Outsiders,
The United States of America,
Sound Behaviour,
Cabaret Voltaire,
Spoonie Gee,
Angry Samoans,
Al Stewart,
Porter Ricks,
Ash Ra Tempel, Ash Ra Tempel, Ash Ra Tempel, Ash Ra Tempel.
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.