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 Maldives and from Madrid.
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 1979.
I'm losing my edge.
To all the kids in Stockholm and Manila.
I'm losing my edge to the art-school Madrid 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 arpeggiator 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 The Chocolate Watch Band to the dance 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 DJ Sneak. All the underground hits.
All Steve Hackett tracks. I heard you have a vinyl of every The New Christs record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a the Sonics record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blake Baxter,
MDC,
48th St. Collective,
The Gun Club,
These Immortal Souls,
Bang On A Can,
Make Up,
Albert Ayler,
Rhythm & Sound,
Suicide,
Reagan Youth,
Delon & Dalcan,
Black Flag,
Wolf Eyes,
Minor Threat,
Siouxsie and the Banshees,
Notorious BIG live in Amsterdam,
the Bar-Kays,
Pierre Henry,
The Blues Magoos,
The Sonics,
Bush Tetras,
Pagans,
The Busters,
Half Japanese,
Rapeman,
Man Parrish,
DNA,
Kerrie Biddell,
World's Most,
Franke,
Popol Vuh,
Captain Beefheart & His Magic Band,
Sandy B,
The Monochrome Set,
Sällskapet,
Quadrant,
Roy Ayers Ubiquity,
Essential Logic,
ABBA,
Magazine,
The Pop Group,
Glenn Branca,
Strawberry Alarm Clock,
Connie Case,
Ten City,
Godley & Creme,
The Cure,
Andrew Ashong & Theo Parrish,
Darondo,
Neil Young,
Tropical Tobacco,
Kool Moe Dee,
Brand Nubian,
Urselle,
Isaac Hayes,
Country Joe & The Fish,
Lower 48,
Severed Heads,
Angels of Light & Akron/Family, Angels of Light & Akron/Family, Angels of Light & Akron/Family, Angels of Light & Akron/Family.
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.