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 Macedonia and from Portland.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Beijing and Spokane.
I'm losing my edge to the art-school Portland 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 mellotron 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 The Chocolate Watch Band 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 Yellowson. All the underground hits.
All Electric Prunes tracks. I heard you have a vinyl of every B.T. Express record on German import.
I heard that you have a white label of every seminal dance 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 harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Rod Modell record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Hill,
Rekid,
Nirvana,
Ultravox,
Hasil Adkins,
Flamin' Groovies,
Echospace,
Robert Görl,
Major Organ And The Adding Machine,
Barbara Tucker,
Cecil Taylor,
Aswad,
Joey Negro,
Danielle Patucci,
Infiniti,
James White and The Blacks,
Pierre Henry,
Sad Lovers and Giants,
Radiohead,
Letta Mbulu,
Rotary Connection,
Skriet,
David Bowie,
Gil Scott-Heron and Jamie xx,
the Slits,
The Jesus and Mary Chain,
Scrapy,
KRS-One,
June Days,
The Alarm Clocks,
Marvin Gaye,
Bill Wells,
Eddi Front,
Nick Fraelich,
Wally Richardson,
Bobby Womack,
ABBA,
Lou Reed,
Richard Hell and the Voidoids,
Eric Copeland,
Theoretical Girls,
Flash Fearless,
Goldenarms,
the Soft Cell,
This Heat,
Camberwell Now,
Silicon Teens,
The Cramps,
the Sonics,
Unrelated Segments,
Nik Kershaw,
Yusef Lateef,
Rites of Spring,
Gian Franco Pienzio,
Brick,
The United States of America,
The Martian,
B.T. Express,
Rowland S Howard / Lydia Lunch,
Bizarre Inc.,
Marc Almond,
Avey Tare, Avey Tare, Avey Tare, Avey Tare.
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.