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 Fiji and from Shanghai.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Glasgow and Philadelphia.
I'm losing my edge to the art-school Sao Paulo 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 güiro 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 Banda Bassotti to the electroclash 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 Rotary Connection. All the underground hits.
All The Pretty Things tracks. I heard you have a vinyl of every Rekid 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 '80s.
I hear you're buying a clarinet and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tres Demented,
Albert Ayler,
Minnie Riperton,
Gil Scott-Heron and Jamie xx,
Brothers Johnson,
Negative Approach,
Black Flag,
Super Lover Cee & Casanova Rud,
The Birthday Party,
Model 500,
KRS-One,
Arcadia,
Ultravox,
Nation of Ulysses,
Qualms,
Harpers Bizarre,
Cheater Slicks,
The Invisible,
L. Decosne,
Mars,
Oblivians,
T. Rex,
John Cale,
Lonnie Liston Smith,
The Royal Family And The Poor,
Scion,
MDC,
Ludus,
The Barracudas,
Thinking Fellers Union Local 282,
Delon & Dalcan,
Angry Samoans,
Liliput,
Richard Hell and the Voidoids,
Tim Buckley,
Danielle Patucci,
John Lydon,
Archie Shepp,
Lizzy Mercier Descloux,
Donald Byrd,
The Walker Brothers,
The Chocolate Watch Band,
Pussy Galore,
Blancmange,
Terrestrial Tones,
Eric Dolphy,
Boz Scaggs,
LL Cool J,
Q65,
Matthew Bourne,
Swans,
Barry Ungar,
Sun Ra Arkestra,
Eyeless In Gaza,
Von Mondo,
Country Teasers,
Lungfish,
Cameo,
Henry Cow,
Jacques Brel,
June of 44,
Second Layer,
Graham Central Station,
Fort Wilson Riot,
Grandmaster Flash, Grandmaster Flash, Grandmaster Flash, Grandmaster Flash.
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.