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 Tonga and from Cairo.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Lyon and Spokane.
I'm losing my edge to the art-school Philadelphia 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the oboe sounds with much patience.
I was there when Holger Czukay 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 Big Daddy Kane to the dance kids.
I played it at the Astoria.
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 Gichy Dan. All the underground hits.
All Kaleidoscope tracks. I heard you have a vinyl of every James White and The Blacks 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 '70s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a It's A Beautiful Day record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nico,
Saccharine Trust,
Big Daddy Kane,
Super Lover Cee & Casanova Rud,
Hardrive,
Man Parrish,
Bauhaus,
Surgeon,
Sun City Girls,
Quantec,
Jerry Gold Smith,
Magma,
Cabaret Voltaire,
Bobby Hutcherson,
The Motions,
Lou Christie,
Oblivians,
Television Personalities,
Shoche,
Henry Cow,
Deakin,
Crime,
Kenny Larkin,
Avey Tare's Slasher Flicks,
The Buckinghams,
The Move,
The Residents,
Bobby Sherman,
The Fire Engines,
Al Stewart,
Gichy Dan,
Intrusion,
The Seeds,
Be Bop Deluxe,
Newcleus,
The Saints,
Ultimate Spinach,
Dawn Penn,
Charles Mingus,
the Swans,
Lindisfarne,
Loose Ends,
The Names,
Black Moon,
The Wake,
Rhythm & Sound,
The Techniques,
The Zeros,
The Human League,
The Young Rascals,
Rotary Connection,
Dead Boys,
Arthur Verocai,
World's Most,
The Mojo Men,
Dennis Brown,
Erasure,
The Index,
The Cramps,
La Düsseldorf,
Toni Rubio,
Easy Going, Easy Going, Easy Going, Easy Going.
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.