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 Barbados and from Jakarta.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Philadelphia.
I'm losing my edge to the art-school Philadelphia 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 theremin sounds with much patience.
I was there when Michael McDonald 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 Manfred Mann's Earth Band to the punk 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 Scott Walker. All the underground hits.
All Malaria! tracks. I heard you have a vinyl of every The Wake 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 '70s.
I hear you're buying a sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Porter Ricks record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warsaw,
Mars,
Heaven 17,
Vladislav Delay,
Rhythm & Sound,
Pet Shop Boys,
Reuben Wilson,
Barclay James Harvest,
The Slits,
Rotary Connection,
Pantytec,
The Fall,
Accadde A,
Yaz,
Kerri Chandler,
Arab on Radar,
MDC,
Siouxsie and the Banshees,
Bootsy's Rubber Band,
The Shadows of Knight,
Roxy Music,
Country Joe & The Fish,
the Slits,
The Slackers,
The Moleskins,
Motorama,
Bang On A Can,
The Jesus and Mary Chain,
KRS-One,
Ken Boothe,
Eurythmics,
Spoonie Gee,
Slick Rick,
Echospace,
Notorious BIG live in Amsterdam,
Cabaret Voltaire,
Ice-T,
JFA,
The Names,
Swans,
Eric Dolphy,
Funky Four + One,
Robert Görl,
The Trojans,
The Mummies,
Prince Buster,
Deakin,
Urselle,
Ituana,
Rekid,
Deutsch Amerikanische Freundschaft,
Lou Christie,
Janne Schatter,
Pantaleimon,
Ronan,
Gang Gang Dance,
Theoretical Girls,
Avey Tare's Slasher Flicks,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.