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 Tajikistan and from Salvador.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1977.
I'm losing my edge.
To all the kids in Taipei and Manchester.
I'm losing my edge to the art-school Mumbai 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 chamberlin 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 Pylon to the crunk kids.
I played it at the Roxy.
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 Tommy Roe. All the underground hits.
All La Düsseldorf tracks. I heard you have a vinyl of every the Swans record on German import.
I heard that you have a white label of every seminal electroclash 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 spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Donny Hathaway record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
AZ,
Section 25,
Susan Cadogan,
Depeche Mode,
Warren Ellis,
Ultramagnetic MC's,
Rakim,
Bauhaus,
Mantronix,
Supertramp,
Groovy Waters,
The Vogues,
Faraquet,
Gil Scott-Heron and Jamie xx,
Thompson Twins,
Glambeats Corp.,
Subhumans,
The Raincoats,
Pere Ubu,
Derrick Morgan,
Ronan,
Radiopuhelimet,
Fela Kuti,
Crispy Ambulance,
Magazine,
Swans,
The Fire Engines,
LL Cool J,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Toni Rubio,
Avey Tare's Slasher Flicks,
Cecil Taylor,
Grandmaster Flash,
Underground Resistance,
Sun City Girls,
Goldenarms,
This Heat,
JFA,
Arcadia,
Strawberry Alarm Clock,
Ituana,
Eyeless In Gaza,
Soft Machine,
Eurythmics,
Donny Hathaway,
Tom Boy,
Althea and Donna,
The Zeros,
Orchestral Manoeuvres in the Dark,
The Evens,
Maleditus Sound,
the Fania All-Stars,
Sound Behaviour,
Notorious Big And Bone Thugs,
The Sound,
the Slits,
Dave Gahan,
Japan,
The Human League,
Wighnomy Brothers & Robag Wruhme,
Whodini,
Suburban Knight,
Sex Pistols, Sex Pistols, Sex Pistols, Sex Pistols.
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.