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 Cuba and from Copenhagen.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Woodstock and Mumbai.
I'm losing my edge to the art-school Edmonton 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 Nile Rodgers 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 Shuggie Otis to the grunge 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 Arcadia. All the underground hits.
All Alphaville tracks. I heard you have a vinyl of every Sexual Harrassment record on German import.
I heard that you have a white label of every seminal disco 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 sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Invisible record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glenn Branca,
Lou Reed,
Icehouse,
Lindisfarne,
Newcleus,
Ultramagnetic MC's,
Radiopuhelimet,
Khruangbin,
Danielle Patucci,
48th St. Collective,
Young Marble Giants,
Vainqueur,
Reuben Wilson,
The American Breed,
Avey Tare's Slasher Flicks,
Strawberry Alarm Clock,
Major Organ And The Adding Machine,
The Pop Group,
Kool Moe Dee,
Sight & Sound,
Bluetip,
Pierre Henry,
Bill Wells,
John Foxx,
Amon Düül II,
Main Source,
The Golliwogs,
Cameo,
Ten City,
Echo & the Bunnymen,
Marvin Gaye,
La Düsseldorf,
Intrusion,
Justin Hinds & The Dominoes,
Louis and Bebe Barron,
The Slackers,
Mary Jane Girls,
Sonny Sharrock,
The Misunderstood,
Scan 7,
Manfred Mann's Earth Band,
Pole,
Richard Hell and the Voidoids,
Dr. Dre and Snoop Doggy Dog,
The Toasters,
Blossom Toes,
Tres Demented,
Aswad,
Tropical Tobacco,
Robert Hood,
Cecil Taylor,
Slave,
Crash Course in Science,
Jawbox,
Supertramp,
Ultra Naté,
Swell Maps,
The Seeds,
Soft Machine,
Slick Rick,
ABC,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Donald Byrd,
Angry Samoans, Angry Samoans, Angry Samoans, Angry Samoans.
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.