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 Bahamas and from Copenhagen.
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 1974.
I'm losing my edge.
To all the kids in Woodstock and Delhi.
I'm losing my edge to the art-school Woodstock 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 harpsichord 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 Marc Almond to the disco 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 the Sonics. All the underground hits.
All Eve St. Jones tracks. I heard you have a vinyl of every The Mojo Men record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Flesh Eaters,
Heavy D & The Boyz,
Pet Shop Boys,
Scrapy,
The Chocolate Watch Band,
Roger Hodgson,
Buzzcocks,
DeepChord presents Echospace,
Vladislav Delay,
48th St. Collective,
The Real Kids,
Sunsets and Hearts,
Interpol,
The Fall,
The Buckinghams,
Rod Modell,
Sister Nancy,
Massinfluence,
EPMD,
The Busters,
Eli Mardock,
Jerry's Kids,
Whodini,
Dorothy Ashby,
Gian Franco Pienzio,
Scott Walker,
Radiohead,
The West Coast Pop Art Experimental Band,
Susan Cadogan,
Flamin' Groovies,
Lightning Bolt,
Art Ensemble Of Chicago,
Richard Hell and the Voidoids,
Stiv Bators,
Flash Fearless,
Stereo Dub,
LL Cool J,
Mary Jane Girls,
Peter and Kerry,
Anakelly,
Qualms,
The Raincoats,
Marine Girls,
Joe Finger,
The Kinks,
Al Stewart,
Porter Ricks,
the Germs,
Scion,
Kas Product,
The Slackers,
Skriet,
The Human League,
London Community Gospel Choir,
Fugazi,
The Smiths,
June of 44,
the Soft Cell,
Crispian St. Peters,
Albert Ayler,
Bobby Byrd,
Teenage Jesus and the Jerks,
James Chance & The Contortions,
Drexciya, Drexciya, Drexciya, Drexciya.
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.