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 Bosnia Herzegovina and from Glasgow.
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 1960 to 1975.
I'm losing my edge.
To all the kids in New York and Delhi.
I'm losing my edge to the art-school Beijing 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 at the first Suicide practice in a loft in New York.
I was working on the linndrum 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 Pole to the funk kids.
I played it at Trash.
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 Average White Band. All the underground hits.
All Ralphi Rosario tracks. I heard you have a vinyl of every The Trojans record on German import.
I heard that you have a white label of every seminal rock 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 a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Funkadelic,
Man Parrish,
In Retrospect,
The Victims,
Lafayette Afro Rock Band,
China Crisis,
Sunsets and Hearts,
Lindisfarne,
Cabaret Voltaire,
Ohio Players,
Radiopuhelimet,
Masters at Work,
The Electric Prunes,
Stiv Bators,
Ronan,
Organ,
Derrick Morgan,
Theoretical Girls,
Echo & the Bunnymen,
Cameo,
Deutsch Amerikanische Freundschaft,
Pole,
Brick,
Kool G Rap & DJ Polo,
June of 44,
The Gladiators,
Yaz,
Gerry Rafferty,
Bizarre Inc.,
R.M.O.,
Carl Craig,
Bush Tetras,
Sparks,
Guru Guru,
Faust,
Tomorrow,
The J.B.'s,
X-102,
the Association,
James White and The Blacks,
Roger Hodgson,
Tommy Roe,
Hasil Adkins,
OOIOO,
Cal Tjader,
Flipper,
Monks,
Juan Atkins,
the Bar-Kays,
Depeche Mode,
FM Einheit,
Nation of Ulysses,
Nils Olav,
10cc,
The Barracudas,
Second Layer,
Fela Kuti,
Gang Green,
Thee Headcoats,
MDC,
The Durutti Column,
Kings Of Tomorrow,
Eli Mardock,
Al Stewart,
Marine Girls, Marine Girls, Marine Girls, Marine Girls.
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.