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 Venezuela and from Calgary.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Beijing and Philadelphia.
I'm losing my edge to the art-school Bologna 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the linndrum sounds with much patience.
I was there when Tom Verlaine 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 Young Marble Giants to the disco 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 Ronnie Foster. All the underground hits.
All Quando Quango tracks. I heard you have a vinyl of every Todd Rundgren 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 '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Gang of Four record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Osbourne,
ABC,
Glenn Branca,
Pantaleimon,
This Heat,
Joe Finger,
Gregory Isaacs,
Jandek,
Arab on Radar,
The Dave Clark Five,
Arthur Verocai,
Larry & the Blue Notes,
Judy Mowatt,
the Swans,
Motorama,
Heaven 17,
Frankie Knuckles,
Yaz,
Television Personalities,
John Holt,
Jeff Mills,
Sister Nancy,
the Bar-Kays,
Suicide,
Drive Like Jehu,
Marine Girls,
The Neon Judgement,
Quando Quango,
The Gladiators,
Ken Boothe,
Robert Görl,
Deepchord,
Soft Machine,
Ornette Coleman,
The Cramps,
Agent Orange,
Terrestrial Tones,
Isaac Hayes,
DeepChord presents Echospace,
James White and The Blacks,
the Soft Cell,
Selector Dub Narcotic,
Harry Pussy,
The Detroit Cobras,
Severed Heads,
Magazine,
The Pop Group,
JFA,
Graham Central Station,
Sugar Minott,
Orchestral Manoeuvres in the Dark,
Camberwell Now,
Hasil Adkins,
Intrusion,
Wings,
Siglo XX,
Skaos,
Fluxion,
Electric Prunes,
Gastr Del Sol,
Röyhkä ja Rättö ja Lehtisalo,
Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish.
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.