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 Tonga and from Mexico City.
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 1960 to 1976.
I'm losing my edge.
To all the kids in New York and Hong Kong.
I'm losing my edge to the art-school London 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 snare sounds with much patience.
I was there when Nile Rodgers 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 The Chocolate Watch Band 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 Nik Kershaw. All the underground hits.
All Q and Not U tracks. I heard you have a vinyl of every These Immortal Souls record on German import.
I heard that you have a white label of every seminal electroclash 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 clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a X-Ray Spex record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bang on a Can All-Stars,
John Holt,
Sun Ra Arkestra,
Lafayette Afro Rock Band,
Lalann,
Underground Resistance,
Morten Harket,
Letta Mbulu,
Skaos,
48th St. Collective,
Swell Maps,
Black Moon,
Eurythmics,
The Jesus and Mary Chain,
Derrick Morgan,
Bill Wells,
Flash Fearless,
Ohio Players,
Traffic Nightmare,
Skarface,
Strawberry Alarm Clock,
Rites of Spring,
The Walker Brothers,
Ornette Coleman,
Soul II Soul,
Nas,
Monks,
Nick Cave & The Bad Seeds,
Kings Of Tomorrow,
Jesper Dahlback,
Junior Murvin,
Echo & the Bunnymen,
Radio Birdman,
Avey Tare,
The Cowsills,
Albert Ayler,
Swans,
Bobby Womack,
Black Pus,
Eric B and Rakim,
Robert Görl,
Fear,
Althea and Donna,
Glambeats Corp.,
De La Soul & Jungle Brothers,
Quando Quango,
Dark Day,
James Chance & The Contortions,
Roxy Music,
Saccharine Trust,
Janne Schatter,
Black Sheep,
Chris & Cosey,
Index,
Moss Icon,
B.T. Express,
Hoover,
The Grass Roots,
Surgeon,
The Pop Group,
Pole,
Bobby Sherman,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.