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 Zimbabwe and from Lille.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Houston and Milan.
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 guitar 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 Hashim to the funk kids.
I played it at the Crocodile.
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 The Flesh Eaters. All the underground hits.
All Dave Gahan tracks. I heard you have a vinyl of every Mr. Review record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a UT record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Notorious Big And Bone Thugs,
Strawberry Alarm Clock,
Country Teasers,
Charles Mingus,
MDC,
Oppenheimer Analysis,
Von Mondo,
John Coltrane,
Fad Gadget,
Neil Young,
Soft Cell,
The Birthday Party,
The J.B.'s,
Gang of Four,
U.S. Maple,
New York Dolls,
Hoover,
Interpol,
a-ha,
Rapeman,
Gong,
Blossom Toes,
A Certain Ratio,
The Human League,
Scratch Acid,
F. McDonald,
The Velvet Underground,
the Soft Cell,
Japan,
Bronski Beat,
Can,
T.S.O.L.,
Drexciya,
T. Rex,
Kayak,
Maleditus Sound,
Lalann,
Model 500,
Joe Finger,
Guru Guru,
Tommy Roe,
The Raincoats,
Ultramagnetic MC's,
Hot Snakes,
Terror Squad Feat. Camron,
Dr. Dre and Snoop Doggy Dog,
Underground Resistance,
Lucky Dragons,
Barbara Tucker,
The Monks,
Metal Thangz,
the Normal,
Magazine,
Gary Puckett & The Union Gap,
The Toasters,
KRS-One,
Peter & Gordon,
Todd Terry,
Eddi Front,
LL Cool J,
Darondo,
Sly & The Family Stone,
Jeff Lynne, Jeff Lynne, Jeff Lynne, Jeff Lynne.
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.