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 Vietnam and from Toronto.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Glasgow and Bremen.
I'm losing my edge to the art-school Glasgow 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the 808 sounds with much patience.
I was there when Lou Reed 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 B.T. Express to the grunge kids.
I played it at the Roxy.
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 Public Enemy. All the underground hits.
All Röyhkä ja Rättö ja Lehtisalo tracks. I heard you have a vinyl of every Underground Resistance record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Hoover record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faraquet,
The Gories,
Delon & Dalcan,
New York Dolls,
Bush Tetras,
The Sonics,
Iggy Pop,
Agitation Free,
Blancmange,
The Cramps,
Bobby Hutcherson,
Kerrie Biddell,
Niagra,
The Mojo Men,
Mandrill,
Goldenarms,
Teenage Jesus and the Jerks,
Ultramagnetic MC's,
Television Personalities,
James Chance & The Contortions,
Roxy Music,
Make Up,
Young Marble Giants,
Kenny Larkin,
Nils Olav,
Tres Demented,
Icehouse,
The Neon Judgement,
Boogie Down Productions,
Louis and Bebe Barron,
The Index,
Gian Franco Pienzio,
Ornette Coleman,
Massinfluence,
Motorama,
Blake Baxter,
Radiopuhelimet,
Sixth Finger,
Scion,
Japan,
June of 44,
Swans,
Prince Buster,
Electric Light Orchestra,
Pagans,
Kool G Rap & DJ Polo,
Swell Maps,
Howard Jones,
The Motions,
The Fire Engines,
Scott Walker,
Tears for Fears,
Ultravox,
L. Decosne,
Delta 5,
Don Cherry,
Black Flag,
The Beau Brummels,
The Doobie Brothers,
PIL,
Symarip,
Al Stewart,
Lindisfarne,
Rufus Thomas,
The Young Rascals, The Young Rascals, The Young Rascals, The Young Rascals.
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.