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 Germany and from Johannesburg.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1978.
I'm losing my edge.
To all the kids in Bologna and Mexico City.
I'm losing my edge to the art-school Manchester 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 sitar 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 Scott Walker to the jazz kids.
I played it at the Roxy.
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 Electric Prunes. All the underground hits.
All R.M.O. tracks. I heard you have a vinyl of every Soul II Soul record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Fort Wilson Riot record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
It's A Beautiful Day,
Girls At Our Best!,
These Immortal Souls,
The Divine Comedy,
Ossler,
Jawbox,
cv313,
Black Pus,
The Monks,
The Smoke,
Massinfluence,
Strawberry Alarm Clock,
Radiopuhelimet,
Heaven 17,
Gang Gang Dance,
Gang Starr,
The Raincoats,
Sandy B,
Skaos,
Swell Maps,
Maurizio,
Lower 48,
Brick,
Wolf Eyes,
The Residents,
Super Lover Cee & Casanova Rud,
OOIOO,
Suicide,
Camberwell Now,
Aswad,
Sixth Finger,
Thompson Twins,
Shuggie Otis,
The West Coast Pop Art Experimental Band,
Neil Young,
Notorious Big And Bone Thugs,
Bobby Hutcherson,
Liliput,
The Peanut Butter Conspiracy,
The Jesus and Mary Chain,
KRS-One,
Robert Wyatt,
Kurtis Blow,
Darondo,
The Shadows of Knight,
DJ Sneak,
Magma,
June of 44,
The Cosmic Jokers,
Gil Scott-Heron & Brian Jackson,
Ludus,
Black Moon,
Whodini,
Harry Pussy,
CMW,
Bauhaus,
The Victims,
The Selecter,
Crooked Eye,
Siouxsie and the Banshees,
Godley & Creme,
Lee Hazlewood, Lee Hazlewood, Lee Hazlewood, Lee Hazlewood.
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.