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 Cape Verde and from New York.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and Tokyo.
I'm losing my edge to the art-school Mumbai 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 linndrum 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 Black Dice to the dance 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 Orchestral Manoeuvres in the Dark. All the underground hits.
All Chris Corsano tracks. I heard you have a vinyl of every Ultravox record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Skriet record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Thompson Twins,
Joyce Sims,
Public Enemy,
Terry Callier,
Beasts of Bourbon,
Traffic Nightmare,
John Foxx,
The Slits,
Junior Murvin,
Cameo,
The Busters,
R.M.O.,
Grandmaster Flash and the Furious Five,
Sonic Youth,
Bluetip,
Marc Almond,
ABBA,
The Modern Lovers,
The West Coast Pop Art Experimental Band,
The Birthday Party,
Faust,
Avey Tare's Slasher Flicks,
Ultramagnetic MC's,
Robert Görl,
New Order,
Symarip,
Bill Wells,
Lower 48,
F. McDonald,
The Dave Clark Five,
Brand Nubian,
The Saints,
Wally Richardson,
Monks,
Duran Duran,
Patti Smith,
Black Moon,
kango's stein massive,
Pussy Galore,
Skriet,
Ronan,
Pharoah Sanders,
Crime,
Notorious BIG live in Amsterdam,
Organ,
Lou Reed,
Marcia Griffiths,
Cybotron,
Saccharine Trust,
Joe Finger,
Jeff Mills,
Echospace,
Section 25,
Metal Thangz,
Mandrill,
These Immortal Souls,
Piero Umiliani,
Blake Baxter,
Arab on Radar,
Godley & Creme,
Das Ding,
Stereo Dub, Stereo Dub, Stereo Dub, Stereo Dub.
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.