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 Chile and from Manchester.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Jakarta and Accra.
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 guitar sounds with much patience.
I was there when Donald Fagen 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 New Age Steppers to the techno 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 Amon Düül II. All the underground hits.
All Spandau Ballet tracks. I heard you have a vinyl of every Brothers Johnson record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dead C,
Eric Copeland,
Howard Jones,
Throbbing Gristle,
Roy Ayers,
the Germs,
Sparks,
Panda Bear,
The Smoke,
Aaron Thompson,
Groovy Waters,
The Moleskins,
The Modern Lovers,
Mark Hollis,
Erasure,
Easy Going,
Bobby Womack,
John Foxx,
Röyhkä ja Rättö ja Lehtisalo,
Wire,
Minnie Riperton,
Kevin Saunderson,
Mantronix,
The Cosmic Jokers,
Gang of Four,
Boz Scaggs,
Radiohead,
The Wake,
The Index,
Fatback Band,
The West Coast Pop Art Experimental Band,
John Lydon,
Alison Limerick,
Skaos,
Robert Hood,
Brick,
Lindisfarne,
Bobbi Humphrey,
Gregory Isaacs,
Electric Prunes,
Pere Ubu,
Saccharine Trust,
Outsiders,
FM Einheit,
Grauzone,
Warsaw,
Essential Logic,
Dennis Brown,
JFA,
Pierre Henry,
Albert Ayler,
Joey Negro,
Henry Cow,
cv313,
The Gories,
Visage,
Skriet,
Sällskapet,
L. Decosne,
Scott Walker,
Bauhaus,
Bill Wells,
Con Funk Shun, Con Funk Shun, Con Funk Shun, Con Funk Shun.
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.