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 Jamaica and from Madrid.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Winnipeg and Shanghai.
I'm losing my edge to the art-school Manchester 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the rhodes sounds with much patience.
I was there when Lou Reed 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 Blancmange to the electroclash kids.
I played it at the Spitz.
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 Sandy B. All the underground hits.
All Circle Jerks tracks. I heard you have a vinyl of every Prince Buster 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 '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Cramps record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Altered Images,
John Holt,
Faust,
Joe Finger,
Funky Four + One,
Matthew Halsall,
Q65,
Prince Buster,
Section 25,
Sun Ra Arkestra,
Lower 48,
The Names,
Lightning Bolt,
the Soft Cell,
Desert Stars,
K-Klass,
Excepter,
The Slits,
Oneida,
Eli Mardock,
Grauzone,
Schoolly D,
Alphaville,
Crime,
The Golliwogs,
Sugar Minott,
Half Japanese,
Banda Bassotti,
The Velvet Underground,
The Index,
Nick Fraelich,
Crash Course in Science,
Avey Tare & Kría Brekkan,
Pagans,
The Searchers,
The Leaves,
Skarface,
Eve St. Jones,
Ornette Coleman,
Ice-T,
The Cramps,
Avey Tare,
Moss Icon,
PIL,
Gong,
Marshall Jefferson,
Motorama,
Drive Like Jehu,
The Remains,
The Jesus and Mary Chain,
Jandek,
Grandmaster Flash and the Furious Five,
the Fania All-Stars,
Tropical Tobacco,
Fort Wilson Riot,
Thee Headcoats,
Fugazi,
Strawberry Alarm Clock,
Black Bananas,
Delon & Dalcan,
Curtis Mayfield,
The Last Poets,
Gil Scott Heron,
Sandy B, Sandy B, Sandy B, Sandy B.
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.