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 Australia and from Seoul.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Spokane and London.
I'm losing my edge to the art-school Paris 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 arpeggiator 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 Radiopuhelimet to the grime kids.
I played it at the Roxy.
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 Motorama. All the underground hits.
All Negative Approach 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 '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Public Image Ltd. record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Names,
Rowland S Howard / Lydia Lunch,
Marvin Gaye,
Wire,
The Mojo Men,
Sad Lovers and Giants,
Liliput,
Jesper Dahlbäck,
The Detroit Cobras,
Monks,
Lebanon Hanover,
Peter and Kerry,
Aloha Tigers,
Ronnie Foster,
The Red Krayola,
Jesper Dahlback,
Peter Gordon & Love of Life Orchestra,
Lou Reed & Metallica,
Ossler,
Minnie Riperton,
Organ,
Sonny Sharrock,
Tomorrow,
Stetsasonic,
Major Organ And The Adding Machine,
Jeru the Damaja,
Q65,
Youth Brigade,
Scientists,
Jerry Gold Smith,
Bill Near,
Marshall Jefferson,
T.S.O.L.,
Larry & the Blue Notes,
The Mighty Diamonds,
Camouflage,
Whodini,
Banda Bassotti,
Quadrant,
Minutemen,
Yaz,
The Index,
Lou Reed & John Cale,
Scion,
K-Klass,
Mark Hollis,
Blossom Toes,
The Cosmic Jokers,
The Motions,
Urselle,
F. McDonald,
Matthew Halsall,
Cybotron,
World's Most,
The Doobie Brothers,
Thinking Fellers Union Local 282,
FM Einheit,
Eden Ahbez,
Procol Harum,
Kurtis Blow,
the Germs,
Desert Stars,
Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock.
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.