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 Cuba and from Paris.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1965 to 1974.
I'm losing my edge.
To all the kids in Johannesburg and Manila.
I'm losing my edge to the art-school New York 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 güiro sounds with much patience.
I was there when David Bowie 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 The Mighty Diamonds to the grunge kids.
I played it at the Troubador.
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 The Five Americans. All the underground hits.
All Marvin Gaye tracks. I heard you have a vinyl of every The Alarm Clocks record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Susan Cadogan record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Davy DMX,
John Foxx,
Visage,
Pulsallama,
Roger Hodgson,
Intrusion,
The Detroit Cobras,
Visionaries,LMNO, T- Love & Iriscience,
Lucky Dragons,
Kurtis Blow,
the Association,
Royal Trux,
Eric Dolphy,
Sandy B,
Saccharine Trust,
Adolescents,
Gichy Dan,
Frankie Knuckles,
Eve St. Jones,
Angels of Light & Akron/Family,
The Beau Brummels,
Q and Not U,
Ornette Coleman,
Subhumans,
James Chance & The Contortions,
Camberwell Now,
Nas,
Cybotron,
The Fire Engines,
Maleditus Sound,
Q65,
Kool Moe Dee,
Boz Scaggs,
Arcadia,
Gong,
The Chocolate Watch Band,
Ronnie Foster,
Spoonie Gee,
Rufus Thomas,
Deutsch Amerikanische Freundschaft,
Peter & Gordon,
Liaisons Dangereuses,
The Invisible,
Soul II Soul,
Sonny Sharrock,
Gastr Del Sol,
Von Mondo,
Hashim,
The Names,
Kings Of Tomorrow,
Susan Cadogan,
The Peanut Butter Conspiracy,
Siglo XX,
Larry & the Blue Notes,
Vladislav Delay,
The Motions,
The Fuzztones,
Bootsy Collins,
The Men They Couldn't Hang,
New Order,
Barbara Tucker,
UT,
Harmonia,
Babytalk,
Suicide, Suicide, Suicide, Suicide.
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.