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 Panama and from Mexico City.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Lille and Lille.
I'm losing my edge to the art-school Tehran 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the mellotron sounds with much patience.
I was there when David Bowie 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 Ultravox to the funk 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 Gil Scott Heron. All the underground hits.
All John Foxx tracks. I heard you have a vinyl of every Rotary Connection record on German import.
I heard that you have a white label of every seminal techno 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 sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Marvin Gaye record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Last Poets,
Jeff Mills,
EPMD,
Mandrill,
Todd Terry,
Ultra Naté,
Ronan,
The Human League,
Hasil Adkins,
Sex Pistols,
Kool Moe Dee,
Stetsasonic,
Lungfish,
Bootsy Collins,
Masters at Work,
Frankie Knuckles,
Motorama,
Yaz,
Curtis Mayfield,
June Days,
Yazoo,
Orchestral Manoeuvres in the Dark,
Electric Light Orchestra,
Bob Dylan,
Marc Almond,
Black Bananas,
Jawbox,
UT,
Harmonia,
The Gap Band,
John Cale,
Rhythm & Sound,
Suicide,
Aloha Tigers,
Ituana,
Franke,
Scott Walker,
Pantytec,
Terror Squad Feat. Camron,
Leonard Cohen,
Ludus,
Audionom,
Vaughan Mason & Crew,
The Music Machine,
Rosa Yemen,
The Red Krayola,
Yellowson,
Drexciya,
Jandek,
Faraquet,
Jerry's Kids,
Arab on Radar,
Neil Young,
Rekid,
Delta 5,
The Wake,
Simply Red,
Young Marble Giants,
Gang Gang Dance,
Deakin,
Gian Franco Pienzio,
Cecil Taylor,
The Count Five,
Reuben Wilson, Reuben Wilson, Reuben Wilson, Reuben Wilson.
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.