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 Moldova and from Woodstock.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Paris and Salvador.
I'm losing my edge to the art-school Manchester 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 1978 at the first Visage practice in a loft in London.
I was working on the harpsichord 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 John Cale to the funk 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 The American Breed. All the underground hits.
All Johnny Clarke tracks. I heard you have a vinyl of every The Pretty Things 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 '70s cut and another box set from the '70s.
I hear you're buying a guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a John Cale record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacob Miller,
The United States of America,
Ossler,
Boredoms,
Swell Maps,
CMW,
Niagra,
Patti Smith,
Gary Puckett & The Union Gap,
Minor Threat,
Steve Hackett,
The Mighty Diamonds,
Reagan Youth,
U.S. Maple,
Laurel Aitken,
Skarface,
Sad Lovers and Giants,
The Happenings,
Quantec,
Nas,
The Durutti Column,
Minutemen,
Captain Beefheart & His Magic Band,
Angels of Light & Akron/Family,
London Community Gospel Choir,
JFA,
Quando Quango,
Hasil Adkins,
Procol Harum,
Fear,
Joensuu 1685,
Ash Ra Tempel,
The Vogues,
Lakeside,
Radiopuhelimet,
Wasted Youth,
Man Parrish,
Art Ensemble Of Chicago,
the Bar-Kays,
The Tremeloes,
Althea and Donna,
the Germs,
Brass Construction,
Warsaw,
Mantronix,
A Certain Ratio,
Godley & Creme,
Robert Görl,
De La Soul & Jungle Brothers,
New Order,
Oblivians,
Monolake,
Hoover,
Ice-T,
Kenny Larkin,
James White and The Blacks,
Nick Cave & The Bad Seeds,
Gil Scott Heron,
Gang of Four,
Rites of Spring,
Ultimate Spinach,
World's Most,
the Association,
The Modern Lovers, The Modern Lovers, The Modern Lovers, The Modern Lovers.
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.