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 Costa Rica and from Portland.
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 1974.
I'm losing my edge.
To all the kids in Lagos and New York.
I'm losing my edge to the art-school London 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 1973 at the first Television practice in a loft in New York.
I was working on the guitar 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 Ultravox to the jazz 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 Eric Dolphy. All the underground hits.
All Todd Terry tracks. I heard you have a vinyl of every The J.B.'s 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 '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Gang Starr record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aural Exciters,
Pere Ubu,
Judy Mowatt,
The Buckinghams,
Suicide,
Deepchord,
John Cale,
Minutemen,
Livin' Joy,
Newcleus,
The Stooges,
Sixth Finger,
Moby Grape,
Junior Murvin,
The Shadows of Knight,
Slick Rick,
Gregory Isaacs,
Kerri Chandler,
Bobby Sherman,
Lee Hazlewood,
Johnny Osbourne,
The Dave Clark Five,
Lou Reed & Metallica,
Althea and Donna,
New York Dolls,
The Vogues,
Main Source,
Rufus Thomas,
ABBA,
The Jesus and Mary Chain,
Grey Daturas,
E-Dancer,
Pharoah Sanders,
The Blues Magoos,
The Tremeloes,
Tubeway Army,
The Men They Couldn't Hang,
Nas,
James Chance & The Contortions,
Roy Ayers,
Moss Icon,
Unrelated Segments,
Stereo Dub,
Black Bananas,
Sister Nancy,
Man Parrish,
the Normal,
The Fugs,
Ituana,
Heavy D & The Boyz,
Tropical Tobacco,
Bad Manners,
Ken Boothe,
Nick Cave & The Bad Seeds,
The Gap Band,
Ice-T,
Japan,
Patti Smith,
Radiopuhelimet,
Howard Jones,
Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark.
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.