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 Kuwait and from Hong Kong.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1971.
I'm losing my edge.
To all the kids in Manila and Johannesburg.
I'm losing my edge to the art-school Paris 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 1978 at the first Visage practice in a loft in London.
I was working on the guitar 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 Peter Gordon & Love of Life Orchestra to the rock kids.
I played it at Trash.
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 Tomorrow. All the underground hits.
All The Knickerbockers tracks. I heard you have a vinyl of every Minnie Riperton record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wolf Eyes,
Pantytec,
Avey Tare,
Essential Logic,
Bill Wells,
The Motions,
Organ,
Soulsonic Force,
Art Ensemble Of Chicago,
Danielle Patucci,
Lou Reed & Metallica,
Girls At Our Best!,
The Modern Lovers,
The Doobie Brothers,
Pagans,
The Dead C,
John Lydon,
Livin' Joy,
Jandek,
The Sound,
AZ,
Interpol,
Michelle Simonal,
Index,
Funky Four + One,
Scion,
the Sonics,
Stiv Bators,
A Flock of Seagulls,
Q and Not U,
The Residents,
Arthur Verocai,
Matthew Bourne,
Basic Channel,
Newcleus,
Richard Hell and the Voidoids,
Joe Smooth,
Thee Headcoats,
The Human League,
Glenn Branca,
Robert Hood,
Gang Gang Dance,
Sexual Harrassment,
Cal Tjader,
Teenage Jesus and the Jerks,
Scott Walker + Sunn O))),
Siglo XX,
Kool G Rap & DJ Polo,
The Invisible,
the Human League,
Lonnie Liston Smith,
Nick Fraelich,
Funkadelic,
K-Klass,
Spoonie Gee,
Grauzone,
John Cale,
In Retrospect,
Drive Like Jehu, Drive Like Jehu, Drive Like Jehu, Drive Like Jehu.
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.