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 Israel and from London.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Lagos and Lyon.
I'm losing my edge to the art-school Halifax 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 güiro 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 Super Lover Cee & Casanova Rud to the techno kids.
I played it at the Crocodile.
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 David McCallum. All the underground hits.
All Japan tracks. I heard you have a vinyl of every Saccharine Trust record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Darondo record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Howard Jones,
Gil Scott-Heron and Jamie xx,
Cabaret Voltaire,
Visage,
Alton Ellis,
Scott Walker,
Saccharine Trust,
Excepter,
The Divine Comedy,
The Electric Prunes,
Kings Of Tomorrow,
Eli Mardock,
Lou Reed & Metallica,
ABC,
The Dave Clark Five,
Kenny Larkin,
LL Cool J,
Half Japanese,
Bauhaus,
Pet Shop Boys,
F. McDonald,
Franke,
Roy Ayers,
The Chocolate Watch Band,
Altered Images,
Chris & Cosey,
T.S.O.L.,
Barclay James Harvest,
Boogie Down Productions,
The Selecter,
The Count Five,
Leonard Cohen,
The Gories,
The Cramps,
the Human League,
Lungfish,
The West Coast Pop Art Experimental Band,
Todd Rundgren,
Kerri Chandler,
E-Dancer,
Lindisfarne,
World's Most,
Terrestrial Tones,
Easy Going,
Wighnomy Brothers & Robag Wruhme,
Crooked Eye,
Warsaw,
Deadbeat,
Mantronix,
Japan,
Lonnie Liston Smith,
The Sonics,
Curtis Mayfield,
Selector Dub Narcotic,
Buzzcocks,
Stockholm Monsters,
Mission of Burma,
Stetsasonic,
The Real Kids,
Neu!,
Matthew Bourne,
Drexciya,
Patti Smith, Patti Smith, Patti Smith, Patti Smith.
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.