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 Senegal and from Toronto.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Mexico City and Tehran.
I'm losing my edge to the art-school Johannesburg 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 mellotron 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 Q65 to the crunk 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 Swans. All the underground hits.
All Amon Düül II tracks. I heard you have a vinyl of every Selector Dub Narcotic record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Faust record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slave,
Theoretical Girls,
Delon & Dalcan,
Depeche Mode,
Clear Light,
Nation of Ulysses,
Heaven 17,
Wolf Eyes,
The Misunderstood,
Gary Puckett & The Union Gap,
Massinfluence,
Bobby Sherman,
Country Teasers,
Ultra Naté,
Sugar Minott,
Lalo Schifrin,
Oblivians,
This Heat,
T.S.O.L.,
Brothers Johnson,
The Seeds,
Nick Fraelich,
The Beau Brummels,
Rosa Yemen,
Lou Reed,
Scan 7,
Crispy Ambulance,
Cybotron,
Vaughan Mason & Crew,
The Star Department,
Peter and Kerry,
Moebius,
Röyhkä ja Rättö ja Lehtisalo,
The Divine Comedy,
Jeru the Damaja,
Popol Vuh,
Frankie Knuckles,
Sarah Menescal,
The Young Rascals,
Rowland S Howard / Lydia Lunch,
Josef K,
Monolake,
Ossler,
Joe Finger,
the Human League,
Notorious Big And Bone Thugs,
Rites of Spring,
10cc,
Jerry's Kids,
Sister Nancy,
Eric Copeland,
Ajijia Myrayebe,
The Men They Couldn't Hang,
The Cowsills,
Colin Newman,
Jacob Miller,
Lindisfarne,
Rhythim Is Rhythim,
Jerry Gold Smith,
Infiniti,
Selector Dub Narcotic,
Boz Scaggs,
The Victims, The Victims, The Victims, The Victims.
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.