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 Bulgaria and from Taipei.
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 Glasgow and Bologna.
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 sitar sounds with much patience.
I was there when Nile Rodgers 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 Tres Demented to the rap 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 Lizzy Mercier Descloux. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every Surgeon record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a June Days record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
the Association,
Laurel Aitken,
Echo & the Bunnymen,
Cymande,
Neil Young,
Q65,
Bob Dylan,
The West Coast Pop Art Experimental Band,
Man Eating Sloth,
Boz Scaggs,
The Count Five,
The Fortunes,
Derrick May,
the Normal,
Buzzcocks,
Rapeman,
Pierre Henry,
Avey Tare,
Wings,
Jerry Gold Smith,
Peter and Kerry,
Ossler,
Bobby Byrd,
Grandmaster Flash,
The Durutti Column,
Sight & Sound,
Yusef Lateef,
The Mighty Diamonds,
Eric B and Rakim,
Kool Moe Dee,
Mary Jane Girls,
Severed Heads,
Quadrant,
Black Moon,
Jerry's Kids,
Bizarre Inc.,
Sad Lovers and Giants,
The Slits,
Fear,
Little Man,
Young Marble Giants,
Blossom Toes,
Audionom,
Kool G Rap & DJ Polo,
Second Layer,
Tim Buckley,
The Dave Clark Five,
Peter & Gordon,
K-Klass,
Nation of Ulysses,
Dave Gahan,
D'Angelo,
Cybotron,
The Pop Group,
Camberwell Now,
Model 500,
Ornette Coleman,
The Moleskins,
Röyhkä ja Rättö ja Lehtisalo,
Richard Hell and the Voidoids,
Graham Central Station,
Monks,
Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow.
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.