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 Zimbabwe and from Shanghai.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1965 to 1975.
I'm losing my edge.
To all the kids in Shanghai and Winnipeg.
I'm losing my edge to the art-school Lagos 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 spring reverb sounds with much patience.
I was there when David Bowie 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 Lee Hazlewood to the grunge kids.
I played it at the Spitz.
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 The Monks. All the underground hits.
All Strawberry Alarm Clock tracks. I heard you have a vinyl of every The Trojans 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 '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Vainqueur record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mars,
Minnie Riperton,
The United States of America,
Gil Scott-Heron & Brian Jackson,
Man Eating Sloth,
Patti Smith,
Ludus,
Terrestrial Tones,
Royal Trux,
X-102,
Intrusion,
Joy Division,
World's Most,
Joey Negro,
Second Layer,
Barbara Tucker,
John Coltrane,
Circle Jerks,
Lou Reed,
Suburban Knight,
Hasil Adkins,
Radiohead,
The Litter,
New York Dolls,
Bang On A Can,
Al Stewart,
Donald Byrd,
The Mojo Men,
E-Dancer,
Schoolly D,
Model 500,
F. McDonald,
The Move,
Hashim,
Selector Dub Narcotic,
Beasts of Bourbon,
B.T. Express,
Yellowson,
The Saints,
CMW,
Matthew Bourne,
Stiv Bators,
Kas Product,
John Holt,
Glenn Branca,
Gian Franco Pienzio,
Yusef Lateef,
Toni Rubio,
Gil Scott Heron,
Joe Finger,
Deutsch Amerikanische Freundschaft,
Procol Harum,
Young Marble Giants,
Grey Daturas,
DeepChord presents Echospace,
Quando Quango,
Ultimate Spinach,
Bobby Hutcherson,
The Victims,
De La Soul & Jungle Brothers,
Radiopuhelimet,
The Fuzztones,
Freddie Wadling,
K-Klass,
Amazonics, Amazonics, Amazonics, Amazonics.
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.