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 Albania and from Taipei.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1979.
I'm losing my edge.
To all the kids in Lagos and Johannesburg.
I'm losing my edge to the art-school Accra 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 spring reverb sounds with much patience.
I was there when Lou Reed 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 the Bar-Kays to the rap kids.
I played it at CBGB's.
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 Gil Scott Heron. All the underground hits.
All Ossler tracks. I heard you have a vinyl of every Ituana 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 a rhodes and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glenn Branca,
Aural Exciters,
Pharoah Sanders,
Massinfluence,
Silicon Teens,
Big Daddy Kane,
Al Stewart,
The Slackers,
Janne Schatter,
Roger Hodgson,
Maurizio,
Index,
The Moody Blues,
Arab on Radar,
Jeff Mills,
Gil Scott-Heron & Brian Jackson,
Theoretical Girls,
Ice-T,
Pete Rock & C.L. Smooth,
The Fire Engines,
LL Cool J,
Gang Gang Dance,
Cymande,
The Durutti Column,
Bluetip,
Neil Young & Crazy Horse,
Bush Tetras,
Symarip,
Intrusion,
Piero Umiliani,
Red Lorry Yellow Lorry,
Buzzcocks,
Sly & The Family Stone,
Masters at Work,
Jacob Miller,
Kerri Chandler,
Anthony Braxton,
The Invisible,
Fear,
Stetsasonic,
PIL,
Ludus,
Jesper Dahlbäck,
DJ Style,
Johnny Clarke,
X-101,
Royal Trux,
Kauko Röyhkä ja Narttu,
Kerrie Biddell,
Skaos,
Sparks,
New Age Steppers,
The Black Dice,
Soft Machine,
Cabaret Voltaire,
Porter Ricks,
DJ Sneak,
Altered Images,
The Litter,
Roy Ayers,
Lower 48,
Stereo Dub,
The United States of America, The United States of America, The United States of America, The United States of America.
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.