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 Turkmenistan and from Accra.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Halifax and Taipei.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the guitar sounds with much patience.
I was there when Lou Reed 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 Oblivians to the techno kids.
I played it at the Spitz.
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 Crash Course in Science. All the underground hits.
All Nico tracks. I heard you have a vinyl of every E-Dancer 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 '90s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Pete Rock & C.L. Smooth record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
It's A Beautiful Day,
The Names,
Henry Cow,
Yellowson,
Fort Wilson Riot,
Barry Ungar,
Reagan Youth,
Bobby Byrd,
La Düsseldorf,
Lou Reed & John Cale,
Gil Scott-Heron and Jamie xx,
The Monochrome Set,
Brand Nubian,
Robert Görl,
Darondo,
Thinking Fellers Union Local 282,
Shoche,
Erykah Badu,
Joe Smooth,
Wighnomy Brothers & Robag Wruhme,
Drexciya,
Deutsch Amerikanische Freundschaft,
Joey Negro,
Ultravox,
Lebanon Hanover,
Josef K,
Tommy Roe,
Q65,
OOIOO,
The Last Poets,
Ossler,
Sixth Finger,
The Angels of Light,
H. Thieme,
Y Pants,
Subhumans,
Mars,
Underground Resistance,
The Velvet Underground,
Hot Snakes,
Procol Harum,
The Music Machine,
James White and The Blacks,
Arthur Verocai,
Pharaoh Sanders and the Fire Engines,
Albert Ayler,
Bauhaus,
cv313,
Pierre Henry,
Chris Corsano,
Sight & Sound,
The Knickerbockers,
The Zeros,
Warsaw,
Index,
The Techniques,
Cameo,
Black Pus,
Scott Walker + Sunn O))),
Minny Pops,
Yaz,
Jeff Lynne,
Joy Division, Joy Division, Joy Division, Joy Division.
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.