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 Mauritius and from Lagos.
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 1972.
I'm losing my edge.
To all the kids in Lyon and Sao Paulo.
I'm losing my edge to the art-school Manchester 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 1984 at the first Arcadia practice in a loft in London.
I was working on the arpeggiator 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 Massinfluence to the rap kids.
I played it at the Astoria.
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 Camberwell Now. All the underground hits.
All John Foxx tracks. I heard you have a vinyl of every The Detroit Cobras record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a X-Ray Spex record.
I hear that you and your band have sold your organ and bought an oboe.
I hear that you and your band have sold your oboe and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DNA,
Bobby Hutcherson,
Brick,
Electric Light Orchestra,
Marshall Jefferson,
Patti Smith,
Moss Icon,
AZ,
Sun Ra,
Aloha Tigers,
Index,
Orchestral Manoeuvres in the Dark,
London Community Gospel Choir,
Bluetip,
The Gories,
Frankie Knuckles,
Juan Atkins,
Super Lover Cee & Casanova Rud,
Ponytail,
KRS-One,
Lonnie Liston Smith,
Sunsets and Hearts,
Black Moon,
Joe Finger,
Lindisfarne,
Section 25,
Man Parrish,
X-101,
Sonny Sharrock,
Harmonia,
Piero Umiliani,
Kool Moe Dee,
Hot Snakes,
Technova,
Lower 48,
Sugar Minott,
Archie Shepp,
Dawn Penn,
Niagra,
Deepchord,
Black Flag,
Moby Grape,
Tropical Tobacco,
Throbbing Gristle,
Anthony Braxton,
Clear Light,
The Fugs,
Reagan Youth,
Brass Construction,
Wire,
Be Bop Deluxe,
Oppenheimer Analysis,
Davy DMX,
Sonic Youth,
Jesper Dahlbäck,
Pharaoh Sanders and the Fire Engines,
Traffic Nightmare,
Theoretical Girls,
The Gap Band,
Notorious Big And Bone Thugs,
Swans, Swans, Swans, Swans.
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.