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 Solomon Islands and from Hong Kong.
But I was there.
I was there in .
I was there at the first Suicide 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 1960 to 1970.
I'm losing my edge.
To all the kids in Columbus and Halifax.
I'm losing my edge to the art-school Hong Kong 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 marimba 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 Ultra Naté to the techno kids.
I played it at Cafe Wha.
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 Urselle. All the underground hits.
All Idris Muhammad tracks. I heard you have a vinyl of every Kings Of Tomorrow 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 '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Memphis Bleek And Beenie Seigel record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lower 48,
the Normal,
Japan,
Echo & the Bunnymen,
Porter Ricks,
New Order,
These Immortal Souls,
The Move,
Junior Murvin,
Bluetip,
Lebanon Hanover,
Jeff Lynne,
Urselle,
Boz Scaggs,
Howard Jones,
Dorothy Ashby,
Wolf Eyes,
Ossler,
Kerri Chandler,
Von Mondo,
Adolescents,
The Peanut Butter Conspiracy,
Stockholm Monsters,
Toni Rubio,
Neil Young,
Liaisons Dangereuses,
Amazonics,
Audionom,
Archie Shepp,
The Fortunes,
The Slackers,
Traffic Nightmare,
B.T. Express,
The Mummies,
Minnie Riperton,
Oneida,
The Walker Brothers,
Tim Buckley,
Captain Beefheart & His Magic Band,
Joe Smooth,
Livin' Joy,
Harry Pussy,
Sonny Sharrock,
Iggy Pop,
Rakim,
Neu!,
Gastr Del Sol,
Brothers Johnson,
The Buckinghams,
The Knickerbockers,
Hoover,
The Dave Clark Five,
Lee Hazlewood,
Bootsy Collins,
Ohio Players,
The Grass Roots,
Ken Boothe,
Matthew Halsall,
Jerry Gold Smith,
Thompson Twins,
DJ Sneak,
Scientists, Scientists, Scientists, Scientists.
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.