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 United Kingdom and from Seoul.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Hong Kong and Manila.
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 1978 at the first Visage practice in a loft in London.
I was working on the linndrum sounds with much patience.
I was there when Holger Czukay 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 Harmonia to the dance 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 Matthew Halsall. All the underground hits.
All Swans tracks. I heard you have a vinyl of every Lou Reed & Metallica 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 '50s cut and another box set from the '70s.
I hear you're buying a snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Clear Light,
Rites of Spring,
Pharaoh Sanders and the Fire Engines,
Colin Newman,
Deadbeat,
Rekid,
Wally Richardson,
Animal Collective,
Los Fastidios,
The Flesh Eaters,
Procol Harum,
Barbara Tucker,
Lou Reed & Metallica,
Unrelated Segments,
The Searchers,
Lee Hazlewood,
the Sonics,
Justin Hinds & The Dominoes,
Bobby Hutcherson,
Ultramagnetic MC's,
Sex Pistols,
Porter Ricks,
Andrew Hill,
Röyhkä ja Rättö ja Lehtisalo,
the Germs,
Supertramp,
Radiohead,
Neu!,
Pantaleimon,
Josef K,
Joe Smooth,
Das Ding,
U.S. Maple,
Roy Ayers,
Derrick May,
It's A Beautiful Day,
Circle Jerks,
The Neon Judgement,
EPMD,
Lonnie Liston Smith,
Funkadelic,
Cymande,
Smog,
Severed Heads,
Mark Hollis,
Index,
ABC,
Brothers Johnson,
The Index,
Nation of Ulysses,
The Names,
Nick Cave & The Bad Seeds,
Ituana,
Dawn Penn,
Albert Ayler,
Kerrie Biddell,
Accadde A,
DNA,
Eden Ahbez,
UT,
Visage,
Lower 48,
The Trojans, The Trojans, The Trojans, The Trojans.
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.