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 Togo and from Calgary.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Bremen and Bremen.
I'm losing my edge to the art-school Philadelphia 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the mellotron 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 Sparks to the disco kids.
I played it at Trash.
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 Visage. All the underground hits.
All Stereo Dub tracks. I heard you have a vinyl of every The West Coast Pop Art Experimental Band 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 linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Isaac Hayes record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Japan,
UT,
Main Source,
Lalann,
Bronski Beat,
Moss Icon,
Selector Dub Narcotic,
Kaleidoscope,
Lee Hazlewood,
The Fall,
Richard Hell and the Voidoids,
Crispian St. Peters,
Circle Jerks,
Model 500,
Rhythm & Sound,
the Human League,
Gichy Dan,
Ronan,
Ten City,
Animal Collective,
The Real Kids,
Bobby Byrd,
Television Personalities,
The Offenders,
Severed Heads,
Lou Christie,
Oppenheimer Analysis,
Cheater Slicks,
LL Cool J,
Mo-Dettes,
Neu!,
Black Sheep,
The Moody Blues,
Malaria!,
Strawberry Alarm Clock,
B.T. Express,
Scott Walker,
Porter Ricks,
The Neon Judgement,
Nas,
Vladislav Delay,
Ludus,
Joe Finger,
Interpol,
Susan Cadogan,
Lonnie Liston Smith,
The Mighty Diamonds,
The Litter,
Bobbi Humphrey,
Supertramp,
The Fire Engines,
The Star Department,
Eric Dolphy,
Joe Smooth,
Kango’s Stein Massive,
Thee Headcoats,
Drexciya,
Black Moon,
Brass Construction,
Fear,
Alison Limerick,
Blake Baxter,
Au Pairs, Au Pairs, Au Pairs, Au Pairs.
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.