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 Monaco and from Columbus.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Madrid and Lagos.
I'm losing my edge to the art-school Shanghai 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 harpsichord sounds with much patience.
I was there when Donald Fagen 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 Minor Threat to the electroclash 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 The West Coast Pop Art Experimental Band. All the underground hits.
All Fear tracks. I heard you have a vinyl of every Ultravox 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 '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Sound record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Knickerbockers,
Kerrie Biddell,
The Mighty Diamonds,
Amazonics,
China Crisis,
The Beau Brummels,
Siglo XX,
Gastr Del Sol,
Joensuu 1685,
Delon & Dalcan,
Judy Mowatt,
Index,
The Fortunes,
Rhythm & Sound,
Patti Smith,
Terry Callier,
Nas,
Oneida,
Stetsasonic,
Severed Heads,
Lou Reed & John Cale,
Echospace,
Cymande,
Prince Buster,
Ice-T,
Frankie Knuckles,
Super Lover Cee & Casanova Rud,
the Soft Cell,
Flamin' Groovies,
Man Eating Sloth,
The Standells,
Kerri Chandler,
In Retrospect,
Eric Copeland,
Juan Atkins,
UT,
Minnie Riperton,
kango's stein massive,
Johnny Osbourne,
A Flock of Seagulls,
These Immortal Souls,
Avey Tare's Slasher Flicks,
the Association,
Tubeway Army,
The Dave Clark Five,
Make Up,
Country Teasers,
Rhythim Is Rhythim,
Motorama,
Red Lorry Yellow Lorry,
DNA,
Los Fastidios,
Al Stewart,
The Blackbyrds,
Sandy B,
Scott Walker + Sunn O))),
Janne Schatter,
Minutemen,
Gang of Four,
Theoretical Girls,
Peter & Gordon,
Youth Brigade,
The Flesh Eaters, The Flesh Eaters, The Flesh Eaters, The Flesh Eaters.
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.