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 South Sudan and from Mexico City.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1977.
I'm losing my edge.
To all the kids in Mumbai and Bremen.
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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 John Coltrane to the techno kids.
I played it at the Hacienda.
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 The Red Krayola tracks. I heard you have a vinyl of every The Sisters of Mercy record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Jay Z And Juelz record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Y Pants,
Warren Ellis,
Cal Tjader,
FM Einheit,
The Doors,
Oppenheimer Analysis,
Eric Copeland,
Todd Rundgren,
Dave Gahan,
Buzzcocks,
Dual Sessions,
Arab on Radar,
Moss Icon,
Brand Nubian,
Fatback Band,
Lizzy Mercier Descloux,
Andrew Hill,
The Chocolate Watch Band,
The Men They Couldn't Hang,
X-Ray Spex,
John Cale,
The Fugs,
Gabor Szabo,
Q and Not U,
The Real Kids,
Prince Buster,
Shuggie Otis,
the Slits,
Tim Buckley,
Beasts of Bourbon,
The Wake,
The Royal Family And The Poor,
Grandmaster Flash,
B.T. Express,
Howard Jones,
KRS-One,
Throbbing Gristle,
Rahsaan Roland Kirk,
Aural Exciters,
Gil Scott Heron,
Shoche,
Jerry Gold Smith,
Ten City,
Rod Modell,
Bluetip,
Fat Boys,
Jandek,
Henry Cow,
Ossler,
UT,
Bad Manners,
Mark Hollis,
Roy Ayers Ubiquity,
Crooked Eye,
Soft Machine,
Pete Rock & C.L. Smooth,
Scion,
Donald Byrd,
The Motions, The Motions, The Motions, The Motions.
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.