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 Russia and from Columbus.
But I was there.
I was there in 1973.
I was there at the first Television 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 1961 to 1977.
I'm losing my edge.
To all the kids in Seoul and Seoul.
I'm losing my edge to the art-school London 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 linndrum 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 Piero Umiliani to the electroclash 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 Cameo. All the underground hits.
All Negative Approach tracks. I heard you have a vinyl of every Rapeman 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 spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Sunsets and Hearts record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deakin,
Pussy Galore,
New York Dolls,
Henry Cow,
Section 25,
Jesper Dahlbäck,
Lou Reed & Metallica,
Ten City,
Todd Rundgren,
The Selecter,
The Divine Comedy,
The Alarm Clocks,
Minny Pops,
Supertramp,
Warren Ellis,
Aswad,
The Trojans,
Blake Baxter,
The Electric Prunes,
Marshall Jefferson,
Röyhkä ja Rättö ja Lehtisalo,
Ultravox,
Ash Ra Tempel,
Spandau Ballet,
Deutsch Amerikanische Freundschaft,
Steve Hackett,
Dark Day,
Duran Duran,
Jerry's Kids,
Lalo Schifrin,
Television,
Bauhaus,
The Gladiators,
Angels of Light & Akron/Family,
The Tremeloes,
Bobbi Humphrey,
Eurythmics,
Cymande,
Sunsets and Hearts,
The Mighty Diamonds,
Marcia Griffiths,
Gichy Dan,
Gang Starr,
Surgeon,
Girls At Our Best!,
John Cale,
Panda Bear,
Sly & The Family Stone,
Vaughan Mason & Crew,
Gong,
The Names,
The Star Department,
Suicide,
kango's stein massive,
Anakelly,
MDC,
David Bowie,
Ituana,
Johnny Osbourne,
cv313,
The Invisible,
Deadbeat,
The Detroit Cobras, The Detroit Cobras, The Detroit Cobras, The Detroit Cobras.
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.