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 Jamaica and from Lyon.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Taipei and Manila.
I'm losing my edge to the art-school Mexico City 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 sitar sounds with much patience.
I was there when Lou Reed 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 The Monks to the grunge 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 Pylon. All the underground hits.
All the Human League tracks. I heard you have a vinyl of every The Kinks 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 '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Model 500 record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy Collins,
The Music Machine,
Sonny Sharrock,
Jerry's Kids,
John Foxx,
Essential Logic,
Faust,
Stetsasonic,
Symarip,
Henry Cow,
AZ,
The Kinks,
June of 44,
Sexual Harrassment,
Make Up,
Wings,
Circle Jerks,
Matthew Bourne,
The Seeds,
Marvin Gaye,
Barbara Tucker,
The Flesh Eaters,
Sound Behaviour,
DNA,
Rhythm & Sound,
Con Funk Shun,
Roy Ayers Ubiquity,
Visionaries,LMNO, T- Love & Iriscience,
The Monks,
Oneida,
Blake Baxter,
Alton Ellis,
Black Flag,
Scion,
Siouxsie and the Banshees,
Fat Boys,
James White and The Blacks,
Idris Muhammad,
Motorama,
Kauko Röyhkä ja Narttu,
Visage,
Cybotron,
Pussy Galore,
Graham Central Station,
Absolute Body Control,
T. Rex,
Todd Rundgren,
ABBA,
Donald Byrd,
Main Source,
Khruangbin,
Zero Boys,
Parry Music,
Funky Four + One,
The Count Five,
Soft Machine,
Nation of Ulysses,
Echospace,
Warsaw,
Spandau Ballet,
the Association,
Derrick Morgan,
Deepchord,
Crash Course in Science,
The Residents, The Residents, The Residents, The Residents.
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.