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 Algeria and from Toronto.
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 1970.
I'm losing my edge.
To all the kids in Winnipeg and Mexico City.
I'm losing my edge to the art-school Accra 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 harpsichord 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 Curtis Mayfield to the grime kids.
I played it at Trash.
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 Second Layer. All the underground hits.
All Boz Scaggs tracks. I heard you have a vinyl of every Danielle Patucci 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 guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a London Community Gospel Choir record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slick Rick,
Robert Görl,
Nation of Ulysses,
The Cure,
Bauhaus,
Echospace,
Nils Olav,
Shoche,
Thee Headcoats,
Kaleidoscope,
Rahsaan Roland Kirk,
Mandrill,
Piero Umiliani,
Fear,
Kool G Rap & DJ Polo,
Sight & Sound,
The New Christs,
The Gun Club,
Minutemen,
The Count Five,
Chrome,
Brothers Johnson,
Boogie Down Productions,
Royal Trux,
Cybotron,
Simply Red,
Vainqueur,
Gastr Del Sol,
Notorious Big And Bone Thugs,
The Vogues,
Technova,
Danielle Patucci,
The Alarm Clocks,
Lalann,
Scratch Acid,
The Victims,
The Gladiators,
Moss Icon,
Kango’s Stein Massive,
Matthew Bourne,
The Skatalites,
Y Pants,
Black Pus,
The Trojans,
The Associates,
Art Ensemble Of Chicago,
Make Up,
The Black Dice,
The Fire Engines,
Nico,
Icehouse,
Glambeats Corp.,
Monks,
The Sisters of Mercy,
MC5,
Crash Course in Science,
B.T. Express,
Section 25,
Brand Nubian, Brand Nubian, Brand Nubian, Brand Nubian.
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.