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 Tunisia and from Bologna.
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 1970.
I'm losing my edge.
To all the kids in Shanghai and Delhi.
I'm losing my edge to the art-school Tehran 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the 808 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 Stetsasonic to the rock 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 Marc Almond. All the underground hits.
All Pere Ubu tracks. I heard you have a vinyl of every Joyce Sims 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 '80s cut and another box set from the '80s.
I hear you're buying a snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Buckinghams record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tropical Tobacco,
Ice-T,
Buzzcocks,
Dorothy Ashby,
Alton Ellis,
Marc Almond,
Black Flag,
Sad Lovers and Giants,
X-101,
Tim Buckley,
ABBA,
Theoretical Girls,
Alphaville,
Skarface,
AZ,
Spoonie Gee,
Archie Shepp,
Joensuu 1685,
Terrestrial Tones,
Curtis Mayfield,
Delon & Dalcan,
Saccharine Trust,
Suburban Knight,
Malaria!,
Public Image Ltd.,
Roxette,
Lyres,
Shoche,
Harmonia,
Harry Pussy,
Peter & Gordon,
Scott Walker,
Kerri Chandler,
Jeru the Damaja,
R.M.O.,
48th St. Collective,
Flamin' Groovies,
Boredoms,
kango's stein massive,
Sam Rivers,
Terry Callier,
Johnny Osbourne,
Kenny Larkin,
Bobby Byrd,
Ornette Coleman,
Cabaret Voltaire,
Mars,
The Stooges,
Bush Tetras,
Bill Near,
Justin Hinds & The Dominoes,
The Kinks,
Model 500,
Bang On A Can,
Althea and Donna,
Crispian St. Peters,
Jawbox,
Ludus,
Bob Dylan,
Bootsy's Rubber Band,
Bronski Beat, Bronski Beat, Bronski Beat, Bronski Beat.
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.