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 Nigeria and from Bologna.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Columbus and Portland.
I'm losing my edge to the art-school Manila 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 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 Be Bop Deluxe to the crunk kids.
I played it at the Spitz.
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 Leaves. All the underground hits.
All Neil Young tracks. I heard you have a vinyl of every Rhythm & Sound record on German import.
I heard that you have a white label of every seminal electroclash 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 snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Major Organ And The Adding Machine record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monolake,
Jacob Miller,
Brothers Johnson,
Laurel Aitken,
Sad Lovers and Giants,
Inner City,
The Barracudas,
Sun Ra,
Cybotron,
Johnny Osbourne,
PIL,
David Bowie,
Crooked Eye,
Von Mondo,
Ornette Coleman,
Faust,
Frankie Knuckles,
Kenny Larkin,
Quando Quango,
Alison Limerick,
Rod Modell,
Oblivians,
the Association,
The Jesus and Mary Chain,
The Doobie Brothers,
Urselle,
Girls At Our Best!,
Bootsy Collins,
DeepChord presents Echospace,
Yazoo,
Youth Brigade,
Steve Hackett,
Pete Rock & C.L. Smooth,
Pylon,
Gil Scott Heron,
Model 500,
Ronan,
Blancmange,
Dawn Penn,
X-101,
Leonard Cohen,
Mantronix,
Outsiders,
Parry Music,
Amon Düül II,
CMW,
The Cowsills,
Minny Pops,
Y Pants,
Section 25,
Lonnie Liston Smith,
Electric Prunes,
The Divine Comedy,
Public Enemy,
Kerrie Biddell,
The Martian,
Thee Headcoats,
Graham Central Station,
Fugazi,
Dead Boys, Dead Boys, Dead Boys, Dead Boys.
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.