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 Mauritania and from London.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 Taipei and Mexico City.
I'm losing my edge to the art-school Shanghai 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 marimba sounds with much patience.
I was there when Nile Rodgers 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 Magazine to the punk kids.
I played it at the 40 Watt.
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 Zero Boys. All the underground hits.
All Wally Richardson tracks. I heard you have a vinyl of every the Germs record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Five Americans record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
Fort Wilson Riot,
Peter and Kerry,
Public Image Ltd.,
Popol Vuh,
Amon Düül II,
Rowland S Howard / Lydia Lunch,
Boz Scaggs,
Visage,
Connie Case,
Leonard Cohen,
Pierre Henry,
Susan Cadogan,
Au Pairs,
Nation of Ulysses,
Ossler,
Terry Callier,
Freddie Wadling,
the Normal,
Joe Smooth,
Matthew Halsall,
Television,
Strawberry Alarm Clock,
Glambeats Corp.,
Make Up,
The Remains,
Lebanon Hanover,
Avey Tare's Slasher Flicks,
John Cale,
Ultra Naté,
Black Bananas,
Crooked Eye,
John Coltrane,
Rhythim Is Rhythim,
The J.B.'s,
Radiohead,
Gabor Szabo,
DJ Style,
Joyce Sims,
The New Christs,
Gang Starr,
Mantronix,
The Blues Magoos,
X-101,
The Count Five,
The Star Department,
Guru Guru,
Gary Puckett & The Union Gap,
Byron Stingily,
Black Sheep,
Rosa Yemen,
Pantaleimon,
Pulsallama,
Echospace,
Stereo Dub,
The Techniques,
Ken Boothe,
Grey Daturas,
Pylon,
The Velvet Underground,
Fifty Foot Hose,
Selector Dub Narcotic,
The Wake,
Quadrant, Quadrant, Quadrant, Quadrant.
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.