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 Cape Verde and from Manila.
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 1966 to 1976.
I'm losing my edge.
To all the kids in New York and Winnipeg.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the organ 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 Scratch Acid to the jazz 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 Graham Central Station. All the underground hits.
All The Count Five tracks. I heard you have a vinyl of every Metal Thangz 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 '80s cut and another box set from the '90s.
I hear you're buying a 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Knickerbockers record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Donny Hathaway,
Archie Shepp,
Pagans,
Pet Shop Boys,
James Chance & The Contortions,
Lucky Dragons,
Jerry's Kids,
Tom Boy,
Saccharine Trust,
Brick,
This Heat,
Blancmange,
Roy Ayers,
Man Eating Sloth,
The United States of America,
Larry & the Blue Notes,
Jeff Mills,
Harry Pussy,
Rekid,
La Düsseldorf,
X-Ray Spex,
Charles Mingus,
Brass Construction,
Avey Tare,
48th St. Collective,
Bobby Sherman,
Delta 5,
Henry Cow,
Scientists,
Sticky Fingaz feat. Raekwon,
Bad Manners,
Kerri Chandler,
The Wake,
FM Einheit,
Kerrie Biddell,
Jeru the Damaja,
Sound Behaviour,
Unwound,
Technova,
Popol Vuh,
Laurel Aitken,
The Real Kids,
Johnny Clarke,
Orchestral Manoeuvres in the Dark,
Bluetip,
Skaos,
Clear Light,
DeepChord presents Echospace,
Oneida,
Mantronix,
Selector Dub Narcotic,
The Gladiators,
Amon Düül II,
Gil Scott-Heron and Jamie xx,
The West Coast Pop Art Experimental Band,
John Lydon,
Reuben Wilson,
Hot Snakes,
Ituana,
Alison Limerick,
Outsiders,
Spandau Ballet,
Pantaleimon,
Heavy D & The Boyz, Heavy D & The Boyz, Heavy D & The Boyz, Heavy D & The Boyz.
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.