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 Sierra Leone and from Lille.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Bremen and Copenhagen.
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 1978 at the first Visage practice in a loft in London.
I was working on the 808 sounds with much patience.
I was there when Tom Verlaine 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 Livin' Joy to the rap kids.
I played it at CBGB's.
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 Moss Icon. All the underground hits.
All John Coltrane tracks. I heard you have a vinyl of every Circle Jerks record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Sugar Minott record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
World's Most,
The Selecter,
The Slits,
The Shadows of Knight,
Todd Terry,
Aloha Tigers,
Brass Construction,
Roy Ayers Ubiquity,
Essential Logic,
Deakin,
Ten City,
The Gories,
Jerry's Kids,
The Sound,
Kool Moe Dee,
Mr. Review,
The Skatalites,
John Foxx,
The Residents,
Curtis Mayfield,
Funky Four + One,
Throbbing Gristle,
The Durutti Column,
Tears for Fears,
Gabor Szabo,
Eric Copeland,
Supertramp,
Magma,
Avey Tare's Slasher Flicks,
the Bar-Kays,
It's A Beautiful Day,
Lower 48,
Sandy B,
Morten Harket,
Visage,
Sunsets and Hearts,
Black Sheep,
Electric Prunes,
Fear,
The Jesus and Mary Chain,
Brand Nubian,
The Pretty Things,
Amon Düül II,
Lightning Bolt,
Roxette,
Theoretical Girls,
Echo & the Bunnymen,
De La Soul & Jungle Brothers,
Nirvana,
Amon Düül,
Manfred Mann's Earth Band,
Royal Trux,
Sun City Girls,
Pere Ubu,
Fela Kuti,
the Association,
Talk Talk,
Accadde A,
Dr. Dre and Snoop Doggy Dog,
The Associates,
Jacob Miller,
Al Stewart,
The Cramps, The Cramps, The Cramps, The Cramps.
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.