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 Saudi Arabia 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 1967 to 1970.
I'm losing my edge.
To all the kids in Glasgow and Sao Paulo.
I'm losing my edge to the art-school Philadelphia 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the mellotron 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 The Fugs to the electroclash kids.
I played it at Trash.
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 Eric B and Rakim. All the underground hits.
All Pere Ubu tracks. I heard you have a vinyl of every Gregory Isaacs record on German import.
I heard that you have a white label of every seminal disco 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 mellotron and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül II,
The Five Americans,
Harmonia,
Scrapy,
Royal Trux,
Moby Grape,
Adolescents,
Art Ensemble Of Chicago,
Moebius,
Minny Pops,
Slick Rick,
Magazine,
DeepChord presents Echospace,
A Flock of Seagulls,
Young Marble Giants,
These Immortal Souls,
De La Soul & Jungle Brothers,
Rahsaan Roland Kirk,
Depeche Mode,
Al Stewart,
The Techniques,
Graham Central Station,
Tommy Roe,
Pagans,
Byron Stingily,
Ronnie Foster,
Mandrill,
David Axelrod,
Dave Gahan,
Ludus,
Erasure,
Deadbeat,
Marc Almond,
Youth Brigade,
Stockholm Monsters,
The Fire Engines,
Gichy Dan,
John Holt,
Althea and Donna,
Darondo,
the Fania All-Stars,
Scion,
The Names,
Oneida,
Joe Smooth,
Anakelly,
Lakeside,
Freddie Wadling,
Television Personalities,
Ken Boothe,
Drive Like Jehu,
The Star Department,
Fatback Band,
Roy Ayers Ubiquity,
Cecil Taylor,
Todd Rundgren,
Roxette,
Cybotron,
Eddi Front,
The Gun Club, The Gun Club, The Gun Club, The Gun Club.
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.