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 Laos and from Columbus.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1960 to 1974.
I'm losing my edge.
To all the kids in Tehran and Manchester.
I'm losing my edge to the art-school Bremen 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 mellotron 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 AZ to the rap 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 Mary Jane Girls. All the underground hits.
All Guru Guru tracks. I heard you have a vinyl of every Gichy Dan record on German import.
I heard that you have a white label of every seminal punk 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 spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dave Gahan,
48th St. Collective,
Joe Finger,
Scratch Acid,
Stereo Dub,
Spandau Ballet,
Jimmy McGriff,
Camouflage,
John Coltrane,
Duran Duran,
Skaos,
Black Sheep,
The United States of America,
Jesper Dahlback,
The Golliwogs,
The Residents,
Qualms,
Bobby Sherman,
Camberwell Now,
The Detroit Cobras,
Siouxsie and the Banshees,
New York Dolls,
T.S.O.L.,
The West Coast Pop Art Experimental Band,
8 Eyed Spy,
Oblivians,
Ken Boothe,
Oppenheimer Analysis,
Traffic Nightmare,
Ralphi Rosario,
Trumans Water,
Fat Boys,
Mandrill,
Eurythmics,
Erasure,
Pharaoh Sanders and the Fire Engines,
a-ha,
Angry Samoans,
Rhythm & Sound,
Louis and Bebe Barron,
Gang Gang Dance,
Vladislav Delay,
The Angels of Light,
Gang Starr,
Infiniti,
Gregory Isaacs,
Jandek,
Fifty Foot Hose,
The Skatalites,
The Fire Engines,
Easy Going,
Todd Rundgren,
Faraquet,
Graham Central Station,
The J.B.'s,
Major Organ And The Adding Machine,
Slave,
Urselle,
Heavy D & The Boyz, Heavy D & The Boyz, Heavy D & The Boyz, Heavy D & The Boyz.
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.