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 Korea North and from Hong Kong.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Salvador and Johannesburg.
I'm losing my edge to the art-school Shanghai 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the arpeggiator 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 Inner City to the funk 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 Sam Rivers. All the underground hits.
All Man Eating Sloth tracks. I heard you have a vinyl of every Sandy B record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Dual Sessions record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
Oblivians,
Swans,
Bill Near,
Pussy Galore,
John Foxx,
Stetsasonic,
Lou Reed & John Cale,
K-Klass,
Laurel Aitken,
Moby Grape,
The Alarm Clocks,
Fatback Band,
Cabaret Voltaire,
Radiohead,
Aaron Thompson,
kango's stein massive,
Rowland S Howard / Lydia Lunch,
Goldenarms,
Lucky Dragons,
The United States of America,
Rhythm & Sound,
Alton Ellis,
Spandau Ballet,
The Fire Engines,
Marc Romboy vs. Booka Shade,
Nils Olav,
Gregory Isaacs,
Adolescents,
Vladislav Delay,
Quantec,
Barbara Tucker,
Radiopuhelimet,
Larry & the Blue Notes,
the Bar-Kays,
Isaac Hayes,
Eli Mardock,
H. Thieme,
The Cosmic Jokers,
Mantronix,
The Sonics,
Gian Franco Pienzio,
Roxette,
Robert Hood,
Red Lorry Yellow Lorry,
Joyce Sims,
Marine Girls,
Yazoo,
The Star Department,
Eve St. Jones,
Das Ding,
Stiv Bators,
Lou Reed,
D'Angelo,
Excepter,
John Lydon,
Q and Not U,
JFA,
Kevin Saunderson,
Stockholm Monsters,
The Victims,
T. Rex,
Underground Resistance, Underground Resistance, Underground Resistance, Underground Resistance.
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.