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 Croatia and from Johannesburg.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1971.
I'm losing my edge.
To all the kids in Tokyo and Milan.
I'm losing my edge to the art-school Toronto 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 synthesizer 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 The Kinks to the rock 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 Kaleidoscope. All the underground hits.
All Japan tracks. I heard you have a vinyl of every Major Organ And The Adding Machine 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 '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed & John Cale record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oneida,
The Techniques,
Mo-Dettes,
Aural Exciters,
Infiniti,
Blancmange,
Symarip,
Can,
Boogie Down Productions,
Danielle Patucci,
Porter Ricks,
The Blues Magoos,
Banda Bassotti,
The Motions,
Delta 5,
The Barracudas,
Jeru the Damaja,
Theoretical Girls,
Todd Terry,
The West Coast Pop Art Experimental Band,
the Bar-Kays,
MDC,
La Düsseldorf,
Erykah Badu,
Johnny Clarke,
Oppenheimer Analysis,
Andrew Ashong & Theo Parrish,
Brand Nubian,
The Skatalites,
Leonard Cohen,
Soft Cell,
Reagan Youth,
Kool Moe Dee,
the Slits,
Niagra,
Sonic Youth,
Groovy Waters,
Davy DMX,
Susan Cadogan,
Pere Ubu,
The Fugs,
The Happenings,
The Move,
Notorious Big And Bone Thugs,
Wolf Eyes,
The Gladiators,
Robert Hood,
Slick Rick,
The Raincoats,
Mary Jane Girls,
Joey Negro,
Ronan,
Jerry Gold Smith,
Gerry Rafferty,
Main Source,
Lou Reed & Metallica,
The Slackers,
The Smoke,
the Swans,
Arthur Verocai,
Jesper Dahlback, Jesper Dahlback, Jesper Dahlback, Jesper Dahlback.
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.