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 Peru and from Mexico City.
But I was there.
I was there in 1973.
I was there at the first Television 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 1961 to 1976.
I'm losing my edge.
To all the kids in Toronto and Lagos.
I'm losing my edge to the art-school Salvador 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 marimba sounds with much patience.
I was there when Captain Beefheart 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 Q and Not U to the jazz kids.
I played it at the 40 Watt.
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 Soft Cell. All the underground hits.
All Avey Tare's Slasher Flicks tracks. I heard you have a vinyl of every MC5 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 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Ultra Naté record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Major Organ And The Adding Machine,
A Flock of Seagulls,
Organ,
Spoonie Gee,
Interpol,
Man Eating Sloth,
Clear Light,
The J.B.'s,
The Last Poets,
Rosa Yemen,
New York Dolls,
Marshall Jefferson,
Sun City Girls,
Pole,
Terrestrial Tones,
Pet Shop Boys,
Archie Shepp,
The Walker Brothers,
Notorious BIG live in Amsterdam,
Adolescents,
Gang Gang Dance,
Scrapy,
Audionom,
LL Cool J,
Harmonia,
Roxette,
Groovy Waters,
Matthew Halsall,
Yazoo,
The Invisible,
Boogie Down Productions,
Brothers Johnson,
Flipper,
Johnny Clarke,
DJ Style,
Cybotron,
Lungfish,
Rod Modell,
June Days,
Robert Görl,
Intrusion,
Josef K,
Ohio Players,
Neil Young & Crazy Horse,
Metal Thangz,
ABC,
the Association,
Althea and Donna,
Theoretical Girls,
Gang Starr,
Depeche Mode,
Tom Boy,
the Soft Cell,
The Sisters of Mercy,
Country Teasers,
DJ Sneak,
Albert Ayler,
Vainqueur,
Bobby Byrd,
X-102,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.