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 Jordan and from Houston.
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 1979.
I'm losing my edge.
To all the kids in Calgary and Milan.
I'm losing my edge to the art-school Sao Paulo 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the sitar sounds with much patience.
I was there when Donald Fagen 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 Subhumans to the dance 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 The Offenders. All the underground hits.
All L. Decosne tracks. I heard you have a vinyl of every Delon & Dalcan record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Near,
Yellowson,
Technova,
Big Daddy Kane,
Richard Hell and the Voidoids,
Pylon,
Average White Band,
Masters at Work,
Gian Franco Pienzio,
Pantytec,
Jacques Brel,
Larry & the Blue Notes,
Johnny Osbourne,
48th St. Collective,
Avey Tare & Kría Brekkan,
Neil Young,
John Lydon,
The Busters,
Lee Hazlewood,
Absolute Body Control,
the Slits,
The Moleskins,
Amon Düül,
LL Cool J,
Kenny Larkin,
Boogie Down Productions,
The Birthday Party,
Flipper,
Gil Scott-Heron and Jamie xx,
Kayak,
Joey Negro,
ABC,
Justin Hinds & The Dominoes,
Wings,
Lucky Dragons,
Susan Cadogan,
Sunsets and Hearts,
The Fire Engines,
Gang Starr,
The Cowsills,
Kas Product,
Reagan Youth,
Television Personalities,
Barrington Levy,
The Fall,
Howard Jones,
Heaven 17,
The Detroit Cobras,
Funky Four + One,
Outsiders,
The Flesh Eaters,
Siouxsie and the Banshees,
Camouflage,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Mo-Dettes,
Nick Fraelich,
Angry Samoans,
Porter Ricks,
Second Layer,
Grey Daturas, Grey Daturas, Grey Daturas, Grey Daturas.
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.