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 Antigua 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 1962 to 1970.
I'm losing my edge.
To all the kids in Taipei and Spokane.
I'm losing my edge to the art-school Mexico City 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 spring reverb 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 In Retrospect to the jazz kids.
I played it at the Astoria.
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 Glenn Branca. All the underground hits.
All Avey Tare tracks. I heard you have a vinyl of every Avey Tare & Kría Brekkan record on German import.
I heard that you have a white label of every seminal rap 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 theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a the Soft Cell record.
I hear that you and your band have sold your snare and bought a sitar.
I hear that you and your band have sold your sitar and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Organ,
Spandau Ballet,
The Barracudas,
New York Dolls,
Crime,
The Divine Comedy,
Mo-Dettes,
Terrestrial Tones,
The Velvet Underground,
The Zeros,
The Gun Club,
One Last Wish,
Visionaries,LMNO, T- Love & Iriscience,
E-Dancer,
Soft Machine,
Tomorrow,
Susan Cadogan,
Rapeman,
Moby Grape,
Pere Ubu,
Mary Jane Girls,
Faraquet,
Ajijia Myrayebe,
K-Klass,
Pussy Galore,
Altered Images,
The Moody Blues,
Skaos,
Yaz,
Dorothy Ashby,
Trumans Water,
Kaleidoscope,
Radiopuhelimet,
Half Japanese,
Orchestral Manoeuvres in the Dark,
Matthew Bourne,
The Smiths,
Dave Gahan,
Rahsaan Roland Kirk,
Deadbeat,
Lebanon Hanover,
Rod Modell,
X-101,
Inner City,
Dark Day,
Duran Duran,
The Peanut Butter Conspiracy,
Groovy Waters,
Avey Tare's Slasher Flicks,
The Offenders,
Bronski Beat,
Maurizio,
The Standells,
The West Coast Pop Art Experimental Band,
Blake Baxter,
Ronnie Foster,
Boogie Down Productions,
Monolake,
Whodini,
Ornette Coleman,
The Slits,
DNA,
Juan Atkins, Juan Atkins, Juan Atkins, Juan Atkins.
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.