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 Burundi 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 1968 to 1977.
I'm losing my edge.
To all the kids in Beijing and Stockholm.
I'm losing my edge to the art-school Bologna 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the guitar sounds with much patience.
I was there when Donald Fagen 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 Litter to the disco kids.
I played it at the Astoria.
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 Graham Central Station. All the underground hits.
All Unwound tracks. I heard you have a vinyl of every Peter Gordon & Love of Life Orchestra record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Pole record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Music Machine,
X-Ray Spex,
Bobbi Humphrey,
Black Pus,
Saccharine Trust,
Ohio Players,
Ten City,
Urselle,
The Leaves,
The Cowsills,
Public Enemy,
The Kinks,
Barrington Levy,
Black Moon,
Country Joe & The Fish,
Alison Limerick,
The Dead C,
8 Eyed Spy,
Dennis Brown,
Cheater Slicks,
Porter Ricks,
Grandmaster Flash,
These Immortal Souls,
Quando Quango,
Lower 48,
Radio Birdman,
John Foxx,
Quantec,
La Düsseldorf,
Deadbeat,
Howard Jones,
Sister Nancy,
Mantronix,
Notorious BIG live in Amsterdam,
Zapp,
Freddie Wadling,
Joe Finger,
Maleditus Sound,
Patti Smith,
The Durutti Column,
Marcia Griffiths,
The Sisters of Mercy,
The Seeds,
Kauko Röyhkä ja Narttu,
Dark Day,
Mary Jane Girls,
Jesper Dahlback,
The Remains,
Iggy Pop,
Deutsch Amerikanische Freundschaft,
The Star Department,
Liaisons Dangereuses,
Pete Rock & C.L. Smooth,
The Dirtbombs,
X-101,
Arthur Verocai,
Pere Ubu,
Siouxsie and the Banshees,
Funkadelic,
Pole,
Q and Not U, Q and Not U, Q and Not U, Q and Not U.
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.