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 Taiwan and from Columbus.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1977.
I'm losing my edge.
To all the kids in Johannesburg and Accra.
I'm losing my edge to the art-school Manchester 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 theremin 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 Victims to the grunge 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 Agitation Free. All the underground hits.
All Richard Hell and the Voidoids tracks. I heard you have a vinyl of every Mars 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 '50s cut and another box set from the '90s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Kool Moe Dee record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lyres,
Flipper,
Danielle Patucci,
Steve Hackett,
Sugar Minott,
Bill Wells,
Rhythm & Sound,
Model 500,
Marshall Jefferson,
Rakim,
Laurel Aitken,
Soul Sonic Force,
Brothers Johnson,
Boogie Down Productions,
The Trojans,
Bronski Beat,
F. McDonald,
Spandau Ballet,
Siglo XX,
Sex Pistols,
The Dead C,
The Index,
Rosa Yemen,
David Bowie,
John Holt,
The Searchers,
L. Decosne,
The Victims,
Stockholm Monsters,
The Wake,
Lalann,
Joe Finger,
Maleditus Sound,
Sparks,
Pylon,
Trumans Water,
Goldenarms,
Ossler,
Qualms,
Bobby Sherman,
Neil Young & Crazy Horse,
Avey Tare's Slasher Flicks,
Television Personalities,
Brick,
The J.B.'s,
PIL,
Terry Callier,
Ultravox,
Rowland S Howard / Lydia Lunch,
Fat Boys,
DNA,
DJ Style,
One Last Wish,
Quantec,
Silicon Teens,
Reuben Wilson,
Pharoah Sanders,
The Busters,
The Cosmic Jokers,
The Buckinghams,
Barbara Tucker,
The Cure,
Marine Girls, Marine Girls, Marine Girls, Marine Girls.
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.