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 Lille.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Beijing and Jakarta.
I'm losing my edge to the art-school Beijing 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the linndrum sounds with much patience.
I was there when Nile Rodgers 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 DeepChord presents Echospace to the crunk 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 Cluster. All the underground hits.
All Gong tracks. I heard you have a vinyl of every Lungfish 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 '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Tremeloes record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pantytec,
The Sisters of Mercy,
Gabor Szabo,
Moebius,
Sonny Sharrock,
Mary Jane Girls,
Subhumans,
Depeche Mode,
DJ Style,
The Smiths,
Basic Channel,
Laurel Aitken,
Simply Red,
Eric Dolphy,
Tres Demented,
Black Pus,
The Peanut Butter Conspiracy,
The Flesh Eaters,
Pussy Galore,
Faust,
Shuggie Otis,
Davy DMX,
Rowland S Howard / Lydia Lunch,
Jawbox,
KRS-One,
The Last Poets,
Blancmange,
The Selecter,
Average White Band,
Sound Behaviour,
Crime,
This Heat,
Marcia Griffiths,
the Bar-Kays,
EPMD,
Spandau Ballet,
the Germs,
Parry Music,
Fad Gadget,
8 Eyed Spy,
A Flock of Seagulls,
Saccharine Trust,
The Zeros,
Derrick Morgan,
Charles Mingus,
Wire,
Gil Scott-Heron and Jamie xx,
The Angels of Light,
Nils Olav,
The Moleskins,
Funky Four + One,
Negative Approach,
Nation of Ulysses,
London Community Gospel Choir,
Bizarre Inc.,
The Remains,
Rosa Yemen,
Man Eating Sloth,
The Pretty Things,
The Durutti Column,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.