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 Gabon and from Manila.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Taipei.
I'm losing my edge to the art-school Seoul 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the 808 sounds with much patience.
I was there when Captain Beefheart 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 Harry Pussy to the crunk kids.
I played it at CBGB's.
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 Oppenheimer Analysis. All the underground hits.
All Orchestral Manoeuvres in the Dark tracks. I heard you have a vinyl of every Skaos 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 '70s cut and another box set from the '70s.
I hear you're buying a clarinet and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Bad Manners record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cure,
The Pretty Things,
Organ,
The Fire Engines,
Ronnie Foster,
Joey Negro,
Rekid,
The Selecter,
The Happenings,
Skarface,
Public Image Ltd.,
AZ,
Cabaret Voltaire,
Dawn Penn,
Sun Ra Arkestra,
Roxette,
Tears for Fears,
Mark Hollis,
Minutemen,
David Bowie,
Roxy Music,
Stereo Dub,
Minnie Riperton,
Cameo,
Roy Ayers Ubiquity,
Isaac Hayes,
Kings Of Tomorrow,
Alison Limerick,
The Mojo Men,
John Cale,
H. Thieme,
Wire,
Q65,
Wally Richardson,
David Axelrod,
Yusef Lateef,
Orchestral Manoeuvres in the Dark,
Half Japanese,
Lou Reed & John Cale,
Jacob Miller,
Yellowson,
OOIOO,
The Star Department,
Lower 48,
The Searchers,
Vladislav Delay,
Derrick Morgan,
Marcia Griffiths,
Country Teasers,
Grandmaster Flash and the Furious Five,
Oneida,
Man Parrish,
Sarah Menescal,
Nas,
the Sonics,
Fifty Foot Hose,
Marmalade,
Scientists,
8 Eyed Spy,
Monolake,
The Fall,
Art Ensemble Of Chicago,
DJ Style,
the Human League, the Human League, the Human League, the Human League.
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.