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 Vanuatu and from Mumbai.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1976.
I'm losing my edge.
To all the kids in Madrid and Salvador.
I'm losing my edge to the art-school Toronto 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 oboe sounds with much patience.
I was there when Michael McDonald 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 Dave Gahan to the grime 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 MDC. All the underground hits.
All PIL tracks. I heard you have a vinyl of every James Chance & The Contortions record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Al Stewart,
Girls At Our Best!,
Marmalade,
Chris Corsano,
Mary Jane Girls,
Kurtis Blow,
Henry Cow,
Faust,
Heaven 17,
Parry Music,
The Fire Engines,
Richard Hell and the Voidoids,
Nation of Ulysses,
Fear,
Pussy Galore,
Rahsaan Roland Kirk,
Index,
Bill Wells,
Nils Olav,
Mandrill,
Oneida,
Harmonia,
Funky Four + One,
New Age Steppers,
Lafayette Afro Rock Band,
Manfred Mann's Earth Band,
Bauhaus,
Black Moon,
Boredoms,
Sister Nancy,
Wire,
Bill Near,
Gregory Isaacs,
Ludus,
Youth Brigade,
LL Cool J,
The Durutti Column,
Warren Ellis,
Pharaoh Sanders and the Fire Engines,
The Young Rascals,
Nico,
The Mighty Diamonds,
June of 44,
Sexual Harrassment,
Drive Like Jehu,
The Slackers,
The Raincoats,
The Fall,
Joy Division,
Aural Exciters,
Todd Rundgren,
The Remains,
The Saints,
Blancmange,
Danielle Patucci,
Ronan,
Tres Demented,
Barbara Tucker,
Joe Finger,
Black Sheep,
Bizarre Inc.,
Gary Puckett & The Union Gap,
R.M.O., R.M.O., R.M.O., R.M.O..
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.