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 Azerbaijan and from Delhi.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1966 to 1977.
I'm losing my edge.
To all the kids in Bremen and Spokane.
I'm losing my edge to the art-school Jakarta 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 Michael McDonald 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 Sarah Menescal to the crunk kids.
I played it at the Troubador.
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 Cecil Taylor tracks. I heard you have a vinyl of every Stetsasonic 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 '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Los Fastidios record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dead Boys,
Mad Mike,
The Martian,
Easy Going,
Aaron Thompson,
Amon Düül,
Pharaoh Sanders and the Fire Engines,
Bizarre Inc.,
Nico,
Camouflage,
Icehouse,
Motorama,
Eddi Front,
E-Dancer,
The Blues Magoos,
Bill Wells,
Eric B and Rakim,
The Toasters,
Wally Richardson,
The Neon Judgement,
Fluxion,
Flash Fearless,
Jeff Mills,
Q and Not U,
DJ Sneak,
Lou Reed & John Cale,
June of 44,
Arcadia,
Fort Wilson Riot,
Jandek,
Urselle,
Terrestrial Tones,
The Fire Engines,
Stetsasonic,
Soulsonic Force,
Pierre Henry,
Beasts of Bourbon,
Vaughan Mason & Crew,
The Grass Roots,
Jesper Dahlbäck,
Prince Buster,
Lou Reed & Metallica,
Cybotron,
Junior Murvin,
Minnie Riperton,
Sun Ra Arkestra,
Curtis Mayfield,
Avey Tare & Kría Brekkan,
Pere Ubu,
Rakim,
Grey Daturas,
Heavy D & The Boyz,
The Doors,
Cluster,
Funkadelic,
Absolute Body Control,
The Electric Prunes,
Glambeats Corp.,
Crispian St. Peters,
The Invisible,
Stiv Bators,
Dawn Penn,
The Tremeloes, The Tremeloes, The Tremeloes, The Tremeloes.
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.