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 Kosovo and from Tehran.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Cairo and Manchester.
I'm losing my edge to the art-school Edmonton 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the chamberlin 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 Arcadia to the electroclash kids.
I played it at Trash.
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 Fugazi. All the underground hits.
All Laurel Aitken tracks. I heard you have a vinyl of every The Real Kids record on German import.
I heard that you have a white label of every seminal crunk 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 harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Gabor Szabo record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chrome,
KRS-One,
The Red Krayola,
Nas,
In Retrospect,
Rahsaan Roland Kirk,
Notorious Big And Bone Thugs,
Vainqueur,
Amon Düül II,
Ohio Players,
Roxy Music,
Bang On A Can,
China Crisis,
Lizzy Mercier Descloux,
John Holt,
The Shadows of Knight,
Jandek,
The Jesus and Mary Chain,
Arab on Radar,
X-102,
Kerrie Biddell,
Bootsy Collins,
Pierre Henry,
The Music Machine,
Lafayette Afro Rock Band,
Pete Rock & C.L. Smooth,
Black Bananas,
Visage,
The Toasters,
Grey Daturas,
Pylon,
Mark Hollis,
Gang Green,
The Dave Clark Five,
Q and Not U,
The Move,
Nik Kershaw,
Pussy Galore,
Radiopuhelimet,
Harmonia,
Jerry's Kids,
The Dirtbombs,
Deadbeat,
Ludus,
R.M.O.,
H. Thieme,
The Kinks,
Marcia Griffiths,
Colin Newman,
Pole,
Second Layer,
Connie Case,
Kurtis Blow,
Drive Like Jehu,
Alphaville,
Echospace,
Schoolly D,
Delon & Dalcan,
Malaria!,
Country Joe & The Fish,
The West Coast Pop Art Experimental Band,
The Royal Family And The Poor,
Vladislav Delay,
The Cure, The Cure, The Cure, The Cure.
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.