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 Philippines and from Sao Paulo.
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 1973.
I'm losing my edge.
To all the kids in Winnipeg and Woodstock.
I'm losing my edge to the art-school Taipei 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the sitar sounds with much patience.
I was there when Robert Palmer 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 Underground Resistance to the electroclash kids.
I played it at the Troubador.
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 Royal Trux. All the underground hits.
All The Remains tracks. I heard you have a vinyl of every Tubeway Army record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Pierre Henry record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Soft Cell,
EPMD,
Barry Ungar,
Radiopuhelimet,
Schoolly D,
June of 44,
Röyhkä ja Rättö ja Lehtisalo,
Robert Görl,
Man Eating Sloth,
Flipper,
Liliput,
Deutsch Amerikanische Freundschaft,
Ohio Players,
Malaria!,
The Slackers,
China Crisis,
Fad Gadget,
Stereo Dub,
Don Cherry,
Pulsallama,
Notorious Big And Bone Thugs,
The Monochrome Set,
The Martian,
Tres Demented,
Major Organ And The Adding Machine,
Susan Cadogan,
Sun City Girls,
Gabor Szabo,
Procol Harum,
Joyce Sims,
Freddie Wadling,
Cluster,
Echospace,
John Cale,
Suburban Knight,
Lalann,
Radiohead,
The Sound,
The Buckinghams,
Alphaville,
Lyres,
Scrapy,
Lou Reed,
Nas,
Barclay James Harvest,
Josef K,
Bizarre Inc.,
The Fire Engines,
Intrusion,
Super Lover Cee & Casanova Rud,
the Swans,
Toni Rubio,
Joe Finger,
Ludus,
Sex Pistols,
MDC,
Hardrive,
Rekid,
Wolf Eyes,
Sällskapet,
L. Decosne,
Matthew Bourne,
Connie Case,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.