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 Tanzania and from Stockholm.
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 1979.
I'm losing my edge.
To all the kids in Columbus and Cairo.
I'm losing my edge to the art-school Madrid 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the linndrum 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 Soft Machine to the disco 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 Danielle Patucci. All the underground hits.
All Flamin' Groovies tracks. I heard you have a vinyl of every Avey Tare's Slasher Flicks record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Symarip record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Motions,
The Blackbyrds,
Kings Of Tomorrow,
Darondo,
Schoolly D,
Drive Like Jehu,
Neil Young,
The Selecter,
Ohio Players,
Grauzone,
Lalann,
The Buckinghams,
Kerrie Biddell,
Fat Boys,
the Slits,
Spoonie Gee,
Brass Construction,
Agitation Free,
Alton Ellis,
Yaz,
In Retrospect,
Thompson Twins,
Captain Beefheart & His Magic Band,
Laurel Aitken,
A Flock of Seagulls,
Al Stewart,
The Shadows of Knight,
World's Most,
John Foxx,
The Toasters,
Kayak,
Flipper,
Gregory Isaacs,
Boredoms,
Pierre Henry,
Fort Wilson Riot,
Siglo XX,
Jerry Gold Smith,
KRS-One,
Dead Boys,
Angry Samoans,
Black Pus,
Röyhkä ja Rättö ja Lehtisalo,
Pete Rock & C.L. Smooth,
Theoretical Girls,
Blancmange,
Unrelated Segments,
Outsiders,
Quando Quango,
Radiopuhelimet,
Lafayette Afro Rock Band,
Eli Mardock,
Metal Thangz,
Soulsonic Force,
John Lydon,
Crime,
Eddi Front,
John Holt,
Jacques Brel,
Dave Gahan,
DJ Sneak, DJ Sneak, DJ Sneak, DJ Sneak.
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.