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 Madagascar and from Madrid.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Mexico City and Bremen.
I'm losing my edge to the art-school Paris 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 808 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 London Community Gospel Choir to the electroclash kids.
I played it at Trash.
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 Marvin Gaye. All the underground hits.
All Traffic Nightmare tracks. I heard you have a vinyl of every The West Coast Pop Art Experimental Band record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Maurizio record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eden Ahbez,
Justin Hinds & The Dominoes,
Ponytail,
Oneida,
Susan Cadogan,
The Flesh Eaters,
Anthony Braxton,
Loose Ends,
Harry Pussy,
Johnny Osbourne,
U.S. Maple,
Robert Wyatt,
Cluster,
Arcadia,
The Tremeloes,
Mad Mike,
DJ Style,
Judy Mowatt,
Zapp,
Bush Tetras,
Nation of Ulysses,
Derrick May,
DeepChord presents Echospace,
Josef K,
Crooked Eye,
This Heat,
Eric B and Rakim,
Suburban Knight,
Young Marble Giants,
Blancmange,
The Star Department,
Dorothy Ashby,
Echospace,
Robert Görl,
the Slits,
Newcleus,
Lungfish,
Althea and Donna,
The Techniques,
Kool G Rap & DJ Polo,
The Moody Blues,
Notorious BIG live in Amsterdam,
Radiohead,
Notorious Big And Bone Thugs,
The Dirtbombs,
Donny Hathaway,
The Blackbyrds,
Terrestrial Tones,
Fifty Foot Hose,
Negative Approach,
UT,
Nik Kershaw,
Larry & the Blue Notes,
The Neon Judgement,
Aural Exciters,
Sugar Minott,
Brand Nubian,
The Detroit Cobras,
The Selecter,
The Beau Brummels,
48th St. Collective,
The Seeds, The Seeds, The Seeds, The Seeds.
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.