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 Tonga and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1979.
I'm losing my edge.
To all the kids in Seoul and Tehran.
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 arpeggiator 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 Magazine to the punk kids.
I played it at the Hacienda.
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 Minnie Riperton. All the underground hits.
All Cluster tracks. I heard you have a vinyl of every 48th St. Collective record on German import.
I heard that you have a white label of every seminal punk 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 spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Nils Olav record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Adolescents,
Japan,
Dave Gahan,
The Kinks,
Spandau Ballet,
June of 44,
Bobbi Humphrey,
The Litter,
Q65,
Y Pants,
Siglo XX,
R.M.O.,
Lee Hazlewood,
Beasts of Bourbon,
The Peanut Butter Conspiracy,
David Bowie,
Henry Cow,
Radio Birdman,
John Lydon,
Jacques Brel,
The Human League,
H. Thieme,
Youth Brigade,
Procol Harum,
Echo & the Bunnymen,
Althea and Donna,
Zero Boys,
John Holt,
Ralphi Rosario,
Electric Light Orchestra,
Sound Behaviour,
Rakim,
Lindisfarne,
Con Funk Shun,
Barry Ungar,
Crash Course in Science,
MDC,
Yusef Lateef,
Alison Limerick,
Slick Rick,
The Cowsills,
Heavy D & The Boyz,
New Age Steppers,
Mission of Burma,
U.S. Maple,
Surgeon,
Sandy B,
Soft Machine,
Idris Muhammad,
Al Stewart,
Boz Scaggs,
The Golliwogs,
Bronski Beat,
The Smoke,
The Mojo Men,
Michelle Simonal, Michelle Simonal, Michelle Simonal, Michelle Simonal.
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.