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 Israel and from Cairo.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 Tokyo and Calgary.
I'm losing my edge to the art-school Manila 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 1978 at the first Visage practice in a loft in London.
I was working on the oboe sounds with much patience.
I was there when Tom Verlaine 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 The Dead C to the grime kids.
I played it at the Crocodile.
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 Slave. All the underground hits.
All Peter and Kerry tracks. I heard you have a vinyl of every Visage 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 '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Sound record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lebanon Hanover,
Heavy D & The Boyz,
Joe Finger,
Lou Reed & Metallica,
Model 500,
The Litter,
Bootsy Collins,
Scion,
The Fortunes,
The Wake,
Panda Bear,
Scott Walker,
Amazonics,
The Associates,
Marmalade,
Black Pus,
Unrelated Segments,
H. Thieme,
David Bowie,
The Flesh Eaters,
Siglo XX,
Flamin' Groovies,
Colin Newman,
Anthony Braxton,
Glambeats Corp.,
Cameo,
New York Dolls,
Skarface,
Marine Girls,
Gastr Del Sol,
Mad Mike,
Blake Baxter,
Ultramagnetic MC's,
The Zeros,
Organ,
Country Teasers,
Kas Product,
Jesper Dahlback,
Aswad,
Slave,
Tommy Roe,
Minutemen,
Pole,
X-102,
Marc Almond,
Nas,
Anakelly,
Y Pants,
the Soft Cell,
The Tremeloes,
Visage,
Neil Young,
Franke,
Qualms,
Flash Fearless,
Gichy Dan,
Echo & the Bunnymen,
The Music Machine,
Alice Coltrane,
T. Rex,
Rakim,
Technova,
Lower 48,
Rufus Thomas, Rufus Thomas, Rufus Thomas, Rufus Thomas.
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.