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 Mexico and from Philadelphia.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Delhi and Philadelphia.
I'm losing my edge to the art-school Portland 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 linndrum 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 Black Pus to the disco 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 Beasts of Bourbon. All the underground hits.
All Sun City Girls tracks. I heard you have a vinyl of every New Age Steppers record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Susan Cadogan record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Motions,
Danielle Patucci,
David McCallum,
The Modern Lovers,
Joyce Sims,
The Barracudas,
The Gun Club,
Qualms,
Visage,
Sam Rivers,
Gang of Four,
Crash Course in Science,
Little Man,
Mary Jane Girls,
The Standells,
PIL,
a-ha,
Alice Coltrane,
Kaleidoscope,
Susan Cadogan,
Motorama,
Kauko Röyhkä ja Narttu,
David Axelrod,
Darondo,
Jeff Mills,
Yusef Lateef,
Ultimate Spinach,
Ossler,
Rosa Yemen,
8 Eyed Spy,
Andrew Hill,
Angels of Light & Akron/Family,
Bronski Beat,
Lou Christie,
Scion,
Rakim,
The United States of America,
Aloha Tigers,
Bobby Womack,
Kool Moe Dee,
Minnie Riperton,
Electric Prunes,
Babytalk,
James Chance & The Contortions,
Skaos,
Delon & Dalcan,
Eve St. Jones,
Q65,
Barrington Levy,
Soul Sonic Force,
Rowland S Howard / Lydia Lunch,
Teenage Jesus and the Jerks,
Index,
Deutsch Amerikanische Freundschaft,
Howard Jones,
James White and The Blacks,
Black Sheep,
The Litter,
the Sonics,
Throbbing Gristle,
The Men They Couldn't Hang,
Hot Snakes, Hot Snakes, Hot Snakes, Hot Snakes.
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.