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 Serbia and from Delhi.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1967 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Shanghai.
I'm losing my edge to the art-school Lyon 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 chamberlin sounds with much patience.
I was there when Holger Czukay 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 Grey Daturas to the rock 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 Warren Ellis. All the underground hits.
All It's A Beautiful Day tracks. I heard you have a vinyl of every The Cure 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 '70s cut and another box set from the '70s.
I hear you're buying an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Sun Ra Arkestra record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Enemy,
Mandrill,
Thee Headcoats,
Maurizio,
Mark Hollis,
Barrington Levy,
Funkadelic,
Boogie Down Productions,
Camron Feat. Memphis Bleek And Beenie Seigel,
Avey Tare's Slasher Flicks,
The Smoke,
Wolf Eyes,
Circle Jerks,
Jacob Miller,
Vainqueur,
Inner City,
Jeru the Damaja,
Fifty Foot Hose,
JFA,
kango's stein massive,
Electric Light Orchestra,
Susan Cadogan,
Art Ensemble Of Chicago,
Anakelly,
The Knickerbockers,
Ohio Players,
Brick,
Sixth Finger,
The Index,
The Angels of Light,
Skaos,
Joe Smooth,
Trumans Water,
Tears for Fears,
Rapeman,
Niagra,
Richard Hell and the Voidoids,
Roxette,
Bluetip,
Ultravox,
Josef K,
The Music Machine,
Lafayette Afro Rock Band,
Pussy Galore,
Mantronix,
Swans,
Motorama,
Section 25,
Khruangbin,
Eurythmics,
The Doors,
Warsaw,
Idris Muhammad,
Pulsallama,
Hashim,
D'Angelo,
Oppenheimer Analysis,
Joyce Sims,
Lee Hazlewood,
Anthony Braxton,
Rod Modell, Rod Modell, Rod Modell, Rod Modell.
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.