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 Jamaica 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 1960 to 1972.
I'm losing my edge.
To all the kids in Manila and Mumbai.
I'm losing my edge to the art-school Salvador 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the mellotron 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 kango's stein massive to the punk kids.
I played it at the 40 Watt.
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 Public Enemy. All the underground hits.
All Matthew Bourne tracks. I heard you have a vinyl of every The Blackbyrds 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 '50s cut and another box set from the '80s.
I hear you're buying a mellotron and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Cameo record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Loose Ends,
Banda Bassotti,
D'Angelo,
Monks,
China Crisis,
the Normal,
Theoretical Girls,
Wings,
Grey Daturas,
Oblivians,
Eric Copeland,
Kurtis Blow,
James White and The Blacks,
Minny Pops,
Ultravox,
The Toasters,
Godley & Creme,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
the Germs,
Bobby Hutcherson,
Ultra Naté,
Shoche,
Can,
Darondo,
DeepChord presents Echospace,
The Jesus and Mary Chain,
The Leaves,
Procol Harum,
Arcadia,
Tropical Tobacco,
Roxy Music,
Grandmaster Flash,
Suburban Knight,
Electric Prunes,
Wire,
Thompson Twins,
The West Coast Pop Art Experimental Band,
Lalann,
Aswad,
Sonic Youth,
The Men They Couldn't Hang,
Eurythmics,
the Bar-Kays,
Notorious Big And Bone Thugs,
Glenn Branca,
Jeff Lynne,
Rosa Yemen,
Thee Headcoats,
Severed Heads,
Joyce Sims,
The Monks,
Lee Hazlewood,
The Fortunes,
Bang On A Can,
Public Image Ltd.,
Stetsasonic,
Magazine,
Pylon,
Sister Nancy,
Circle Jerks,
Boz Scaggs,
Letta Mbulu,
Deutsch Amerikanische Freundschaft,
Franke, Franke, Franke, Franke.
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.