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 South and from Edmonton.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Winnipeg and Portland.
I'm losing my edge to the art-school Sao Paulo 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 linndrum 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 Ultra Naté to the techno kids.
I played it at the Hacienda.
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 Peter & Gordon. All the underground hits.
All The Misunderstood tracks. I heard you have a vinyl of every Camron Feat. Memphis Bleek And Beenie Seigel record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Swell Maps record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kurtis Blow,
Black Bananas,
Lebanon Hanover,
Reuben Wilson,
The Skatalites,
the Slits,
Faraquet,
Stockholm Monsters,
Josef K,
H. Thieme,
DeepChord presents Echospace,
Dead Boys,
Khruangbin,
Index,
The Stooges,
Hashim,
Pussy Galore,
Cymande,
Barbara Tucker,
Bobby Hutcherson,
Stiv Bators,
Bobby Womack,
Royal Trux,
Bush Tetras,
Heaven 17,
Franke,
Eric Dolphy,
Mars,
Theoretical Girls,
OOIOO,
Nirvana,
Trumans Water,
Thinking Fellers Union Local 282,
Masters at Work,
Rosa Yemen,
Electric Prunes,
Glenn Branca,
The Real Kids,
The Searchers,
the Soft Cell,
The Jesus and Mary Chain,
Andrew Ashong & Theo Parrish,
R.M.O.,
Nation of Ulysses,
Jacob Miller,
The Misunderstood,
Thee Headcoats,
A Certain Ratio,
Juan Atkins,
Simply Red,
Ponytail,
The New Christs,
Skaos,
Vladislav Delay,
D'Angelo,
Sly & The Family Stone,
Tears for Fears,
The Dead C,
Excepter,
The Alarm Clocks,
Hasil Adkins,
Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees.
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.