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 Solomon Islands and from Beijing.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Jakarta and Woodstock.
I'm losing my edge to the art-school Calgary 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 linndrum sounds with much patience.
I was there when Michael McDonald 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 T.S.O.L. to the techno 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 Lou Reed. All the underground hits.
All The Count Five tracks. I heard you have a vinyl of every Boredoms 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 '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlback,
Flipper,
Jesper Dahlbäck,
Rowland S Howard / Lydia Lunch,
The Black Dice,
Thompson Twins,
June of 44,
The Misunderstood,
Visage,
X-101,
Pete Rock & C.L. Smooth,
Scan 7,
Amon Düül II,
Joy Division,
Major Organ And The Adding Machine,
the Fania All-Stars,
Bronski Beat,
Lalo Schifrin,
Dawn Penn,
Hoover,
Grandmaster Flash and the Furious Five,
Kayak,
Jeff Mills,
Marshall Jefferson,
Eric Copeland,
Curtis Mayfield,
Michelle Simonal,
Lou Reed & John Cale,
James White and The Blacks,
Sandy B,
Soul II Soul,
Kerrie Biddell,
The Names,
Kaleidoscope,
Quadrant,
The United States of America,
Nation of Ulysses,
Jeff Lynne,
Eddi Front,
Patti Smith,
Deutsch Amerikanische Freundschaft,
Gang Gang Dance,
Suburban Knight,
Thee Headcoats,
Monks,
Au Pairs,
Kango’s Stein Massive,
Lou Reed,
Slick Rick,
Porter Ricks,
Connie Case,
Yazoo,
Glenn Branca,
Inner City,
Heavy D & The Boyz,
Spandau Ballet,
Donny Hathaway,
Icehouse,
Roxy Music,
Bobby Womack,
MDC,
Dark Day,
Fat Boys, Fat Boys, Fat Boys, Fat Boys.
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.