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 Russia and from Stockholm.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 Shanghai and Portland.
I'm losing my edge to the art-school Paris 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 marimba sounds with much patience.
I was there when David Bowie 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 Kas Product to the electroclash kids.
I played it at Cafe Wha.
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 Black Bananas. All the underground hits.
All Gian Franco Pienzio tracks. I heard you have a vinyl of every Laurel Aitken 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 '60s cut and another box set from the '80s.
I hear you're buying an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a T.S.O.L. record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Popol Vuh,
Absolute Body Control,
Donald Byrd,
Ossler,
Eyeless In Gaza,
The Men They Couldn't Hang,
Monks,
Section 25,
The Fire Engines,
The Chocolate Watch Band,
Spandau Ballet,
Reagan Youth,
Gong,
Arthur Verocai,
Radio Birdman,
Pulsallama,
Barbara Tucker,
UT,
Thinking Fellers Union Local 282,
The Stooges,
Steve Hackett,
The United States of America,
The Associates,
The Modern Lovers,
Red Lorry Yellow Lorry,
Liliput,
Cameo,
Visage,
Metal Thangz,
Davy DMX,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Victims,
Oneida,
E-Dancer,
Mandrill,
Bob Dylan,
Bootsy Collins,
Soft Cell,
Archie Shepp,
Lee Hazlewood,
The Motions,
Idris Muhammad,
Brick,
John Holt,
Ituana,
Stereo Dub,
The Human League,
The Gap Band,
La Düsseldorf,
The Electric Prunes,
Bill Wells,
Quadrant,
Faust,
Suicide,
Joe Smooth,
Interpol,
Sam Rivers,
Buzzcocks,
Slave,
Peter Gordon & Love of Life Orchestra,
Pet Shop Boys,
Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks.
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.