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 Bosnia Herzegovina and from Salvador.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Toronto and Seoul.
I'm losing my edge to the art-school Hong Kong 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 organ sounds with much patience.
I was there when Captain Beefheart 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 Scott Walker to the electroclash kids.
I played it at Cafe Wha.
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 Jesper Dahlbäck. All the underground hits.
All Lou Christie tracks. I heard you have a vinyl of every MC5 record on German import.
I heard that you have a white label of every seminal disco 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 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Art Ensemble Of Chicago record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
Henry Cow,
The Birthday Party,
Strawberry Alarm Clock,
Sällskapet,
Soulsonic Force,
Lungfish,
Lower 48,
Ludus,
The Busters,
Chris & Cosey,
Whodini,
Radiopuhelimet,
Barry Ungar,
Susan Cadogan,
The Vogues,
Accadde A,
Alton Ellis,
The Flesh Eaters,
Scrapy,
Judy Mowatt,
Bronski Beat,
Lonnie Liston Smith,
The American Breed,
Shoche,
Grandmaster Flash and the Furious Five,
the Bar-Kays,
The Moleskins,
Jeff Lynne,
Liliput,
Buzzcocks,
Altered Images,
Ken Boothe,
Kool G Rap & DJ Polo,
Jacques Brel,
Darondo,
Barbara Tucker,
Hoover,
Tomorrow,
Lou Reed & John Cale,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Rakim,
James Chance & The Contortions,
Eurythmics,
ABC,
The Fire Engines,
John Cale,
Ossler,
Gang Green,
New York Dolls,
Clear Light,
Beasts of Bourbon,
Section 25,
8 Eyed Spy,
Max Romeo,
the Normal,
Thee Headcoats,
Visage,
Brick, Brick, Brick, Brick.
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.