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 Uganda and from Taipei.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Mexico City and Bologna.
I'm losing my edge to the art-school Winnipeg 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 1977 at the first Mistral practice in a loft in Amsterdam.
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 Moebius to the rock kids.
I played it at the Troubador.
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 Big Daddy Kane. All the underground hits.
All Soul Sonic Force tracks. I heard you have a vinyl of every Minutemen record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a the Soft Cell record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Notorious Big And Bone Thugs,
Dead Boys,
Hashim,
Depeche Mode,
The Litter,
Boredoms,
The United States of America,
Dual Sessions,
Sällskapet,
Loose Ends,
Sparks,
The Index,
The Sound,
Clear Light,
Girls At Our Best!,
Motorama,
Shoche,
The Motions,
Susan Cadogan,
The Alarm Clocks,
Chris Corsano,
Terry Callier,
Tears for Fears,
Lou Reed & Metallica,
Tubeway Army,
Fad Gadget,
Marmalade,
MDC,
Kayak,
Wire,
The Barracudas,
Joe Finger,
Nation of Ulysses,
Kool G Rap & DJ Polo,
Scientists,
The Moleskins,
Nils Olav,
Ultramagnetic MC's,
Warsaw,
Soul II Soul,
Avey Tare,
Sixth Finger,
Oppenheimer Analysis,
Sam Rivers,
Orchestral Manoeuvres in the Dark,
Deutsch Amerikanische Freundschaft,
Intrusion,
Chris & Cosey,
Rahsaan Roland Kirk,
Dennis Brown,
The Gun Club,
PIL,
Nik Kershaw,
Lonnie Liston Smith,
Lalann,
Section 25,
Tommy Roe,
Mr. Review,
Manfred Mann's Earth Band,
Supertramp, Supertramp, Supertramp, Supertramp.
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.