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 St Lucia and from Shanghai.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Madrid and Tehran.
I'm losing my edge to the art-school Hong Kong 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the organ sounds with much patience.
I was there when Captain Beefheart 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 Peter & Gordon to the rap kids.
I played it at the Troubador.
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 Young Marble Giants. All the underground hits.
All Blake Baxter tracks. I heard you have a vinyl of every ABBA record on German import.
I heard that you have a white label of every seminal jazz 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 chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Alphaville record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spandau Ballet,
The Litter,
Q and Not U,
The Fire Engines,
Dr. Dre and Snoop Doggy Dog,
Roxette,
Pete Rock & C.L. Smooth,
The Fall,
E-Dancer,
Andrew Ashong & Theo Parrish,
Lonnie Liston Smith,
Sister Nancy,
David Bowie,
Pantaleimon,
Swans,
Gil Scott-Heron and Jamie xx,
De La Soul & Jungle Brothers,
Audionom,
The Fuzztones,
Symarip,
Todd Terry,
Graham Central Station,
Lyres,
The Toasters,
Alphaville,
The Cosmic Jokers,
Saccharine Trust,
CMW,
Prince Buster,
The Remains,
Tim Buckley,
The Doors,
Anthony Braxton,
Roger Hodgson,
The Monochrome Set,
The Modern Lovers,
Sight & Sound,
Kas Product,
Motorama,
Selector Dub Narcotic,
Cheater Slicks,
Ornette Coleman,
Inner City,
Deakin,
Kaleidoscope,
The Wake,
Minutemen,
Soul Sonic Force,
Ice-T,
Public Enemy,
The Count Five,
Groovy Waters,
a-ha,
John Coltrane,
The Move,
Slave,
Tomorrow,
Heaven 17,
Adolescents,
The West Coast Pop Art Experimental Band,
Shuggie Otis,
Delta 5, Delta 5, Delta 5, Delta 5.
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.