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 Azerbaijan and from Mexico City.
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 1967 to 1970.
I'm losing my edge.
To all the kids in New York and Milan.
I'm losing my edge to the art-school Johannesburg 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the linndrum sounds with much patience.
I was there when Captain Beefheart 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 Minnie Riperton to the rock 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 Grandmaster Flash and the Furious Five. All the underground hits.
All The Motions tracks. I heard you have a vinyl of every Eric Dolphy 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 '50s cut and another box set from the '70s.
I hear you're buying an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Tomorrow record.
I hear that you and your band have sold your sitar and bought a guitar.
I hear that you and your band have sold your guitar and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Foxx,
The Detroit Cobras,
Alison Limerick,
The Pop Group,
Beasts of Bourbon,
Scientists,
Stiv Bators,
CMW,
Black Bananas,
Ultravox,
Harmonia,
Lakeside,
Rosa Yemen,
Franke,
Soul II Soul,
Pete Rock & C.L. Smooth,
Public Enemy,
Robert Wyatt,
Motorama,
Josef K,
London Community Gospel Choir,
Saccharine Trust,
Peter Gordon & Love of Life Orchestra,
Kool Moe Dee,
X-Ray Spex,
Quadrant,
Roy Ayers,
Fatback Band,
PIL,
Parry Music,
The Human League,
Symarip,
Banda Bassotti,
Rhythm & Sound,
The West Coast Pop Art Experimental Band,
The Smiths,
Neil Young & Crazy Horse,
UT,
Moss Icon,
Procol Harum,
The American Breed,
Groovy Waters,
Bronski Beat,
Aswad,
The Toasters,
The Litter,
The Knickerbockers,
H. Thieme,
The Fortunes,
Rekid,
John Coltrane,
Mars,
Darondo,
Panda Bear,
Ohio Players,
Pantytec,
Maurizio,
B.T. Express,
Red Lorry Yellow Lorry,
Skarface,
The Techniques,
Wighnomy Brothers & Robag Wruhme,
MC5, MC5, MC5, MC5.
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.