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 Denmark and from Bologna.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Spokane and Glasgow.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the spring reverb 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 Black Pus to the disco 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 The Gladiators. All the underground hits.
All One Last Wish 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 '70s cut and another box set from the '70s.
I hear you're buying a snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Zero Boys record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
LL Cool J,
The Victims,
H. Thieme,
Crime,
The Fall,
Archie Shepp,
Deutsch Amerikanische Freundschaft,
The Birthday Party,
Eric B and Rakim,
John Cale,
ABBA,
Rapeman,
Harmonia,
Dual Sessions,
James Chance & The Contortions,
The Dave Clark Five,
Leonard Cohen,
Depeche Mode,
Matthew Bourne,
Fear,
Q and Not U,
Beasts of Bourbon,
Davy DMX,
Marcia Griffiths,
T.S.O.L.,
Maleditus Sound,
Kango’s Stein Massive,
Mary Jane Girls,
Cymande,
The Residents,
Japan,
Fad Gadget,
The Martian,
Barbara Tucker,
The Names,
Niagra,
Lightning Bolt,
Funkadelic,
Massinfluence,
Ituana,
The Mojo Men,
Accadde A,
Das Ding,
Sällskapet,
Pagans,
Ken Boothe,
Liliput,
Heaven 17,
Ultravox,
Yusef Lateef,
Chris & Cosey,
Camron Feat. Memphis Bleek And Beenie Seigel,
Yaz,
The Pop Group,
Popol Vuh,
Electric Prunes,
Eric Copeland,
Roger Hodgson,
Teenage Jesus and the Jerks, Teenage Jesus and the Jerks, Teenage Jesus and the Jerks, Teenage Jesus and the Jerks.
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.