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 Samoa and from Lagos.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Toronto and Portland.
I'm losing my edge to the art-school Seoul 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the rhodes 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 Neil Young & Crazy Horse to the funk 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 Black Sheep. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every The West Coast Pop Art Experimental Band record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Gories record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Au Pairs,
Brothers Johnson,
The Jesus and Mary Chain,
Sonny Sharrock,
DNA,
Crime,
The Litter,
Von Mondo,
Sad Lovers and Giants,
Ultra Naté,
Piero Umiliani,
Babytalk,
Duran Duran,
Grauzone,
The Divine Comedy,
Bill Wells,
Marshall Jefferson,
Pantytec,
Lalo Schifrin,
Camberwell Now,
Dual Sessions,
The Evens,
Sexual Harrassment,
the Swans,
Hot Snakes,
Barrington Levy,
Monolake,
The Alarm Clocks,
Pere Ubu,
Gregory Isaacs,
Ken Boothe,
Guru Guru,
Fela Kuti,
The Angels of Light,
Dave Gahan,
The Moody Blues,
David McCallum,
the Fania All-Stars,
Angry Samoans,
Fatback Band,
It's A Beautiful Day,
New Order,
Swell Maps,
Fear,
Y Pants,
June Days,
Marc Romboy vs. Booka Shade,
The Mojo Men,
Bad Manners,
Sun Ra,
Kevin Saunderson,
John Coltrane,
One Last Wish,
the Soft Cell,
Blake Baxter,
Terrestrial Tones,
The Detroit Cobras,
Röyhkä ja Rättö ja Lehtisalo,
The Martian,
Rakim,
Heavy D & The Boyz,
John Lydon, John Lydon, John Lydon, John Lydon.
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.