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 Montenegro and from Taipei.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Manchester and London.
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 clarinet 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 Los Fastidios to the jazz kids.
I played it at the Roxy.
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 Robert Hood. All the underground hits.
All Quadrant tracks. I heard you have a vinyl of every Agitation Free record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a David Bowie record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultra Naté,
Crash Course in Science,
Q65,
Roxy Music,
Gerry Rafferty,
John Holt,
Kurtis Blow,
Kauko Röyhkä ja Narttu,
The Human League,
Easy Going,
Gang of Four,
Joey Negro,
Sam Rivers,
Kerri Chandler,
Amazonics,
The Sound,
Half Japanese,
The Pop Group,
Au Pairs,
The American Breed,
Parry Music,
FM Einheit,
Groovy Waters,
Sällskapet,
Clear Light,
Depeche Mode,
The Birthday Party,
Flamin' Groovies,
Avey Tare's Slasher Flicks,
Niagra,
One Last Wish,
It's A Beautiful Day,
Kings Of Tomorrow,
Janne Schatter,
Delta 5,
Anthony Braxton,
Cymande,
James Chance & The Contortions,
Peter Gordon & Love of Life Orchestra,
Public Enemy,
This Heat,
Rotary Connection,
Rhythim Is Rhythim,
Pantytec,
Mars,
Hoover,
Scrapy,
Ossler,
Simply Red,
The Dirtbombs,
H. Thieme,
Drive Like Jehu,
Franke,
Super Lover Cee & Casanova Rud,
Kas Product,
Harmonia,
Spoonie Gee,
The Sonics,
Eric Copeland,
Siglo XX,
Prince Buster,
Jerry's Kids, Jerry's Kids, Jerry's Kids, Jerry's Kids.
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.