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 Burkina and from New York.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Tokyo and Accra.
I'm losing my edge to the art-school Philadelphia 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the synthesizer 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 Drexciya to the punk 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 Archie Shepp. All the underground hits.
All The Zeros tracks. I heard you have a vinyl of every A Certain Ratio record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a June of 44 record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Shadows of Knight,
Sam Rivers,
Index,
Brass Construction,
The Dave Clark Five,
Funky Four + One,
Easy Going,
Terry Callier,
Lizzy Mercier Descloux,
Flipper,
Youth Brigade,
Sight & Sound,
Das Ding,
Mantronix,
Gary Puckett & The Union Gap,
Fat Boys,
Marmalade,
Ohio Players,
Spandau Ballet,
Alphaville,
Zapp,
The Fuzztones,
Juan Atkins,
The Move,
Be Bop Deluxe,
Steve Hackett,
James Chance & The Contortions,
Tropical Tobacco,
Pete Rock & C.L. Smooth,
New Order,
Agent Orange,
Soft Machine,
Pantytec,
Deepchord,
Aural Exciters,
Moebius,
Oblivians,
Bauhaus,
Todd Rundgren,
Ludus,
Josef K,
The Monks,
Wasted Youth,
Desert Stars,
kango's stein massive,
Nik Kershaw,
Peter & Gordon,
Kool G Rap & DJ Polo,
Khruangbin,
Maleditus Sound,
Todd Terry,
Anakelly,
Lonnie Liston Smith,
Eric B and Rakim,
The Five Americans,
The Modern Lovers,
Section 25,
Nico,
The Index,
Wolf Eyes,
Lou Reed, Lou Reed, Lou Reed, Lou Reed.
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.