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 Burkina and from Spokane.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 Winnipeg and Bremen.
I'm losing my edge to the art-school Cairo 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Lou Reed & Metallica to the grime kids.
I played it at the Hacienda.
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 Buzzcocks. All the underground hits.
All Steve Hackett tracks. I heard you have a vinyl of every Lonnie Liston Smith record on German import.
I heard that you have a white label of every seminal rap 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 an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Sugar Minott record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Little Man,
Crooked Eye,
Crime,
Soft Cell,
Easy Going,
Ajijia Myrayebe,
Soul II Soul,
Bush Tetras,
Bobby Byrd,
The Grass Roots,
Nils Olav,
Aswad,
Black Bananas,
Supertramp,
Leonard Cohen,
Johnny Clarke,
The Fuzztones,
Newcleus,
John Foxx,
Crispian St. Peters,
The Shadows of Knight,
Rufus Thomas,
Beasts of Bourbon,
Captain Beefheart & His Magic Band,
Camberwell Now,
The Evens,
The Count Five,
Stiv Bators,
H. Thieme,
Pere Ubu,
Altered Images,
Lou Reed & Metallica,
The Gun Club,
Derrick Morgan,
Ultimate Spinach,
Reuben Wilson,
The Sonics,
Sight & Sound,
Marine Girls,
Oppenheimer Analysis,
Scott Walker,
The Toasters,
Shoche,
Susan Cadogan,
Rakim,
Jerry Gold Smith,
The Sisters of Mercy,
Erykah Badu,
8 Eyed Spy,
Pete Rock & C.L. Smooth,
Nas,
Fela Kuti,
Max Romeo,
Grey Daturas,
Television,
Larry & the Blue Notes,
Swell Maps,
Glenn Branca,
Tomorrow,
Nico,
Pharoah Sanders,
The Pop Group,
Kool Moe Dee, Kool Moe Dee, Kool Moe Dee, Kool Moe Dee.
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.