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 Slovenia and from Salvador.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Lyon and Madrid.
I'm losing my edge to the art-school Copenhagen 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 spring reverb 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 Goldenarms to the techno 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 Radiopuhelimet. All the underground hits.
All Television Personalities tracks. I heard you have a vinyl of every OOIOO 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 '80s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Flipper record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Residents,
Jesper Dahlback,
Cameo,
The Victims,
Bad Manners,
James White and The Blacks,
La Düsseldorf,
The Gories,
Reuben Wilson,
Masters at Work,
Duran Duran,
The Moleskins,
The Golliwogs,
Camberwell Now,
Stetsasonic,
Morten Harket,
Oblivians,
Banda Bassotti,
Sister Nancy,
Ultramagnetic MC's,
The Searchers,
Sight & Sound,
Black Pus,
The Neon Judgement,
The Barracudas,
Bauhaus,
Flipper,
Amazonics,
Joe Smooth,
Andrew Ashong & Theo Parrish,
Kas Product,
Dorothy Ashby,
Gichy Dan,
The Shadows of Knight,
Youth Brigade,
Au Pairs,
Moby Grape,
Joyce Sims,
The Trojans,
Newcleus,
Arcadia,
Pantaleimon,
Can,
Darondo,
Ituana,
World's Most,
Gil Scott Heron,
Angry Samoans,
Barrington Levy,
The Fuzztones,
Nik Kershaw,
Jeff Mills,
Vainqueur,
Sound Behaviour,
Nils Olav,
Chris & Cosey,
Icehouse,
Metal Thangz,
Sparks,
The Offenders,
Lee Hazlewood,
AZ,
The Birthday Party, The Birthday Party, The Birthday Party, The Birthday Party.
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.