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 Ivory Coast 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 1963 to 1974.
I'm losing my edge.
To all the kids in Manila and Beijing.
I'm losing my edge to the art-school Mexico City 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 June Days to the grunge 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 Frankie Knuckles. All the underground hits.
All the Slits tracks. I heard you have a vinyl of every Trumans Water 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 '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach 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?
Scott Walker,
The Walker Brothers,
Dual Sessions,
Country Teasers,
The Victims,
DJ Style,
Newcleus,
Scion,
Warren Ellis,
The Blackbyrds,
Technova,
The Cosmic Jokers,
Oppenheimer Analysis,
The Fire Engines,
Flash Fearless,
Suburban Knight,
Moby Grape,
The Fortunes,
Brick,
The Grass Roots,
The Selecter,
Crispian St. Peters,
Joey Negro,
Angels of Light & Akron/Family,
Sixth Finger,
Black Pus,
OOIOO,
Max Romeo,
The Busters,
Bobby Womack,
Terry Callier,
The Martian,
Bobby Byrd,
The Alarm Clocks,
Bang On A Can,
Japan,
Brand Nubian,
Donald Byrd,
David Axelrod,
The Vogues,
Fort Wilson Riot,
Isaac Hayes,
Whodini,
Don Cherry,
Hashim,
Jimmy McGriff,
Selector Dub Narcotic,
Eric Dolphy,
Skarface,
Pagans,
Be Bop Deluxe,
Arab on Radar,
Terrestrial Tones,
Sparks,
Eric Copeland,
Man Parrish,
La Düsseldorf,
The Fall,
Jawbox,
New Order, New Order, New Order, New Order.
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.