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 Kyrgyzstan and from Hong Kong.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Beijing and Mumbai.
I'm losing my edge to the art-school Lyon 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 at the first Suicide practice in a loft in New York.
I was working on the synthesizer sounds with much patience.
I was there when Holger Czukay 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 Crooked Eye to the grime 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 Index. All the underground hits.
All Traffic Nightmare tracks. I heard you have a vinyl of every Connie Case record on German import.
I heard that you have a white label of every seminal rock 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 marimba and are throwing your macbook out the window because you want to make something real. You want to make a Flipper record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Gil Scott-Heron & Brian Jackson,
Cecil Taylor,
Make Up,
Röyhkä ja Rättö ja Lehtisalo,
Flash Fearless,
David McCallum,
Television Personalities,
Qualms,
Public Image Ltd.,
Japan,
Fort Wilson Riot,
Dawn Penn,
Maleditus Sound,
Flipper,
June Days,
The Mojo Men,
Spoonie Gee,
Janne Schatter,
Moby Grape,
Sister Nancy,
Strawberry Alarm Clock,
Brass Construction,
Sly & The Family Stone,
Rod Modell,
the Human League,
Connie Case,
The United States of America,
The Fugs,
Harmonia,
Procol Harum,
Pere Ubu,
The Music Machine,
Robert Hood,
Traffic Nightmare,
Banda Bassotti,
The Men They Couldn't Hang,
The Remains,
Grauzone,
The Misunderstood,
Nico,
It's A Beautiful Day,
Blancmange,
Jawbox,
Joe Smooth,
The Flesh Eaters,
Warren Ellis,
Dual Sessions,
Pharaoh Sanders and the Fire Engines,
Yellowson,
Visage,
Kango’s Stein Massive,
Jesper Dahlbäck,
Ultramagnetic MC's,
Be Bop Deluxe,
Quantec,
Silicon Teens,
The Royal Family And The Poor,
Ituana,
Goldenarms,
Alice Coltrane, Alice Coltrane, Alice Coltrane, Alice Coltrane.
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.