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 Burkina and from Lagos.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Woodstock and Calgary.
I'm losing my edge to the art-school Mexico City 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the synthesizer sounds with much patience.
I was there when Lou Reed 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 the Soft Cell 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 Michelle Simonal. All the underground hits.
All Rotary Connection tracks. I heard you have a vinyl of every Crime record on German import.
I heard that you have a white label of every seminal punk 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 a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Walker Brothers record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marine Girls,
James White and The Blacks,
The Evens,
Derrick Morgan,
Richard Hell and the Voidoids,
Be Bop Deluxe,
Sex Pistols,
FM Einheit,
In Retrospect,
The Fuzztones,
Dawn Penn,
Whodini,
Mary Jane Girls,
Boredoms,
Supertramp,
Parry Music,
Lou Reed & Metallica,
Manfred Mann's Earth Band,
Traffic Nightmare,
the Human League,
Mantronix,
Malaria!,
D'Angelo,
Graham Central Station,
Nico,
The Shadows of Knight,
Monks,
Eve St. Jones,
The Pretty Things,
Index,
The Slackers,
Half Japanese,
The Happenings,
Gil Scott-Heron & Brian Jackson,
Little Man,
Jerry's Kids,
Grauzone,
Quadrant,
Public Enemy,
Strawberry Alarm Clock,
Aaron Thompson,
Girls At Our Best!,
Bobby Womack,
Gregory Isaacs,
World's Most,
Harpers Bizarre,
Public Image Ltd.,
The Divine Comedy,
Sunsets and Hearts,
The Beau Brummels,
The Black Dice,
Kool Moe Dee,
The Young Rascals,
Roy Ayers Ubiquity,
Lafayette Afro Rock Band,
Sugar Minott,
The Gories,
Erasure,
Notorious BIG live in Amsterdam,
Wasted Youth,
The Tremeloes,
The Gladiators,
Royal Trux,
Eyeless In Gaza,
Wire, Wire, Wire, Wire.
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.