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 Kiribati and from Columbus.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1960 to 1976.
I'm losing my edge.
To all the kids in London and Sao Paulo.
I'm losing my edge to the art-school Houston 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the chamberlin 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 Malaria! to the techno 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 Supertramp. All the underground hits.
All Brand Nubian tracks. I heard you have a vinyl of every Kevin Saunderson 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 '70s.
I hear you're buying an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Sisters of Mercy record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unrelated Segments,
Electric Prunes,
Lou Reed & Metallica,
Eric Dolphy,
Captain Beefheart & His Magic Band,
Pagans,
Pierre Henry,
The Golliwogs,
Skriet,
Lalann,
Dorothy Ashby,
Orchestral Manoeuvres in the Dark,
Stereo Dub,
Ultravox,
Lebanon Hanover,
Marc Almond,
X-101,
Panda Bear,
Radiohead,
Sonny Sharrock,
Wire,
the Association,
Gichy Dan,
The Fire Engines,
Suicide,
UT,
Talk Talk,
Ornette Coleman,
Guru Guru,
KRS-One,
Bluetip,
Cluster,
Carl Craig,
Cymande,
Barclay James Harvest,
Jesper Dahlbäck,
H. Thieme,
The Searchers,
Jesper Dahlback,
Kauko Röyhkä ja Narttu,
Boogie Down Productions,
Rotary Connection,
John Holt,
Brand Nubian,
Marmalade,
Maurizio,
Crispian St. Peters,
The Monochrome Set,
The Wake,
Oblivians,
Delta 5,
Trumans Water,
Sun City Girls,
Negative Approach,
Selector Dub Narcotic,
Lindisfarne,
U.S. Maple,
Essential Logic,
Skaos,
Ralphi Rosario,
48th St. Collective,
The Toasters, The Toasters, The Toasters, The Toasters.
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.