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 Somalia and from Bologna.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Delhi and Bremen.
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 rhodes 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 Ultimate Spinach to the rap 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 Sugar Minott. All the underground hits.
All Pharoah Sanders tracks. I heard you have a vinyl of every Grey Daturas record on German import.
I heard that you have a white label of every seminal dance 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 an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy Collins,
Subhumans,
Thinking Fellers Union Local 282,
Quadrant,
Agitation Free,
Electric Light Orchestra,
The Red Krayola,
Tommy Roe,
Angry Samoans,
The Seeds,
Faraquet,
Siouxsie and the Banshees,
Cecil Taylor,
Sparks,
Eric B and Rakim,
Delta 5,
Teenage Jesus and the Jerks,
Silicon Teens,
Stetsasonic,
Aural Exciters,
The Modern Lovers,
The Invisible,
Panda Bear,
Mr. Review,
Camron Feat. Memphis Bleek And Beenie Seigel,
H. Thieme,
The New Christs,
Josef K,
Slick Rick,
Traffic Nightmare,
James White and The Blacks,
MDC,
Eric Copeland,
Jimmy McGriff,
Jeff Lynne,
Darondo,
Dorothy Ashby,
The Monochrome Set,
Lou Reed & Metallica,
Pete Rock & C.L. Smooth,
Gregory Isaacs,
The Five Americans,
John Lydon,
The Royal Family And The Poor,
Leonard Cohen,
Make Up,
Strawberry Alarm Clock,
Eric Dolphy,
Reagan Youth,
Carl Craig,
Crispian St. Peters,
Albert Ayler,
New York Dolls,
Anthony Braxton,
Ultimate Spinach,
the Normal,
Bizarre Inc.,
Crispy Ambulance,
Ajijia Myrayebe,
Freddie Wadling,
The Happenings,
Kaleidoscope, Kaleidoscope, Kaleidoscope, Kaleidoscope.
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.