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 Micronesia and from Milan.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Salvador and Mumbai.
I'm losing my edge to the art-school Madrid 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 theremin 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 Soulsonic Force 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 New York Dolls. All the underground hits.
All Whodini tracks. I heard you have a vinyl of every Drexciya 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 '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a PIL record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Infiniti,
Goldenarms,
The Invisible,
Roy Ayers Ubiquity,
Man Parrish,
The Music Machine,
Terror Squad Feat. Camron,
Ornette Coleman,
Judy Mowatt,
The Alarm Clocks,
Crispian St. Peters,
Camouflage,
Vaughan Mason & Crew,
The Detroit Cobras,
Outsiders,
Stetsasonic,
The Toasters,
The Names,
The Misunderstood,
Scott Walker,
In Retrospect,
Swans,
Oppenheimer Analysis,
The Dirtbombs,
The Fortunes,
Hardrive,
Marc Romboy vs. Booka Shade,
Agitation Free,
Lyres,
The Evens,
Essential Logic,
Neil Young & Crazy Horse,
Glambeats Corp.,
Ohio Players,
John Coltrane,
Pete Rock & C.L. Smooth,
Bad Manners,
Kurtis Blow,
Sunsets and Hearts,
Rahsaan Roland Kirk,
JFA,
The Count Five,
Tommy Roe,
Little Man,
Visionaries,LMNO, T- Love & Iriscience,
The J.B.'s,
cv313,
Tres Demented,
World's Most,
Eurythmics,
Rhythm & Sound,
Gong,
Warren Ellis,
Lightning Bolt,
Sarah Menescal,
Eric B and Rakim,
The Gun Club,
Clear Light,
The Durutti Column,
Sexual Harrassment,
Bizarre Inc.,
Faraquet,
Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza.
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.