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 Pakistan and from Shanghai.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 Bologna and Manchester.
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 1978 at the first Visage practice in a loft in London.
I was working on the chamberlin 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 PIL to the funk 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 Cabaret Voltaire. All the underground hits.
All Warsaw tracks. I heard you have a vinyl of every UT record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Byrd record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lightning Bolt,
Ossler,
Lou Reed & John Cale,
Porter Ricks,
Nick Cave & The Bad Seeds,
Teenage Jesus and the Jerks,
Adolescents,
Yazoo,
Boogie Down Productions,
Dark Day,
Toni Rubio,
Barry Ungar,
E-Dancer,
Amon Düül II,
Amon Düül,
JFA,
The Fire Engines,
Magma,
Pierre Henry,
Anakelly,
The Kinks,
the Association,
Yusef Lateef,
Major Organ And The Adding Machine,
The Grass Roots,
Dual Sessions,
Echospace,
Sonny Sharrock,
Sun Ra Arkestra,
Richard Hell and the Voidoids,
Aural Exciters,
Pussy Galore,
Wighnomy Brothers & Robag Wruhme,
New York Dolls,
Barbara Tucker,
Rod Modell,
Gang Gang Dance,
Kerrie Biddell,
U.S. Maple,
Ten City,
MDC,
Chris Corsano,
The Shadows of Knight,
Soul II Soul,
Funky Four + One,
The Blackbyrds,
Mars,
Lou Reed,
Ludus,
Visage,
Tres Demented,
Scan 7,
Bang on a Can All-Stars,
Thee Headcoats,
Mark Hollis,
Roxette,
Minor Threat,
The Saints,
Dawn Penn,
Radiohead,
Oblivians,
Roger Hodgson,
Q and Not U, Q and Not U, Q and Not U, Q and Not U.
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.