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 Kuwait and from Cairo.
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 1978.
I'm losing my edge.
To all the kids in Johannesburg and Sao Paulo.
I'm losing my edge to the art-school Hong Kong 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 Josef K practice in a loft in Edinburgh.
I was working on the rhodes sounds with much patience.
I was there when Holger Czukay 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 Motions to the punk kids.
I played it at the Hacienda.
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 Fat Boys. All the underground hits.
All Major Organ And The Adding Machine tracks. I heard you have a vinyl of every Country Joe & The Fish 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 '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Rosa Yemen record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sonny Sharrock,
Saccharine Trust,
Gregory Isaacs,
The Fire Engines,
New Order,
Moby Grape,
Man Eating Sloth,
The Grass Roots,
Hasil Adkins,
Albert Ayler,
The Skatalites,
Sexual Harrassment,
Nils Olav,
The Dirtbombs,
The Cowsills,
Hardrive,
Crispian St. Peters,
Jacques Brel,
Clear Light,
The Shadows of Knight,
Echo & the Bunnymen,
Echospace,
John Cale,
Notorious BIG live in Amsterdam,
Amon Düül,
Kevin Saunderson,
Ralphi Rosario,
Lizzy Mercier Descloux,
Metal Thangz,
Yazoo,
OOIOO,
Deadbeat,
Lou Reed,
Richard Hell and the Voidoids,
Moebius,
D'Angelo,
Tom Boy,
Davy DMX,
Soul Sonic Force,
John Foxx,
Man Parrish,
Supertramp,
Duran Duran,
New Age Steppers,
Ituana,
The Gap Band,
Ohio Players,
Grandmaster Flash and the Furious Five,
Neil Young,
Jacob Miller,
The Gories,
Lakeside,
Qualms,
The Gladiators,
Shuggie Otis,
Mark Hollis,
The Blackbyrds,
Cameo,
Basic Channel,
The Wake,
The Fall, The Fall, The Fall, The Fall.
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.