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 Cameroon and from Bologna.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Manila and Tokyo.
I'm losing my edge to the art-school Columbus 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 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 Bang On A Can to the rap kids.
I played it at the Crocodile.
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 Skarface. All the underground hits.
All Public Image Ltd. tracks. I heard you have a vinyl of every Pharaoh Sanders and the Fire Engines record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül record.
I hear that you and your band have sold your theremin and bought a 808.
I hear that you and your band have sold your 808 and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Move,
Notorious BIG live in Amsterdam,
The Zeros,
Matthew Bourne,
Bronski Beat,
London Community Gospel Choir,
David Axelrod,
Oppenheimer Analysis,
Marvin Gaye,
Sparks,
Skarface,
Jacob Miller,
Babytalk,
Mad Mike,
Loose Ends,
Roy Ayers,
Rod Modell,
F. McDonald,
Johnny Osbourne,
Roy Ayers Ubiquity,
Deakin,
Tom Boy,
Kayak,
The Flesh Eaters,
Unwound,
These Immortal Souls,
Negative Approach,
The Birthday Party,
Siouxsie and the Banshees,
Porter Ricks,
Electric Light Orchestra,
The Cowsills,
Cal Tjader,
Excepter,
Laurel Aitken,
Sight & Sound,
Skaos,
The West Coast Pop Art Experimental Band,
Quadrant,
Arthur Verocai,
Kurtis Blow,
The Cosmic Jokers,
Rosa Yemen,
B.T. Express,
Television,
Sixth Finger,
Thinking Fellers Union Local 282,
L. Decosne,
Alice Coltrane,
Masters at Work,
Ludus,
The Fugs,
Gong,
Hoover,
New Order,
The Index,
Neu!,
Kerrie Biddell,
Cybotron,
Delon & Dalcan,
Man Parrish,
Steve Hackett,
Grauzone, Grauzone, Grauzone, Grauzone.
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.