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 Paraguay and from Houston.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Delhi and Salvador.
I'm losing my edge to the art-school Manchester 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 marimba sounds with much patience.
I was there when Donald Fagen 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 FM Einheit 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 Liaisons Dangereuses. All the underground hits.
All Rotary Connection tracks. I heard you have a vinyl of every Section 25 record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Funkadelic record.
I hear that you and your band have sold your theremin and bought an oboe.
I hear that you and your band have sold your oboe and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unwound,
Blossom Toes,
The Skatalites,
Andrew Hill,
A Certain Ratio,
Lakeside,
Gil Scott Heron,
Franke,
Little Man,
Terry Callier,
Rekid,
Motorama,
Mo-Dettes,
Bobby Byrd,
Lungfish,
Theoretical Girls,
the Association,
Hardrive,
The Techniques,
Pere Ubu,
Young Marble Giants,
Desert Stars,
Qualms,
Soul II Soul,
The Gories,
Kurtis Blow,
Archie Shepp,
Art Ensemble Of Chicago,
Soulsonic Force,
Electric Light Orchestra,
The Walker Brothers,
The Moleskins,
Bang On A Can,
B.T. Express,
Excepter,
Interpol,
Ken Boothe,
The Saints,
Gil Scott-Heron & Brian Jackson,
The Smoke,
Lebanon Hanover,
Spoonie Gee,
Public Enemy,
The Black Dice,
Barry Ungar,
The Wake,
Kings Of Tomorrow,
Stockholm Monsters,
The Dead C,
Mr. Review,
MDC,
Marc Romboy vs. Booka Shade,
Mantronix,
Spandau Ballet,
Country Joe & The Fish,
Cal Tjader,
Flipper,
Radiohead,
The Monks,
CMW,
Monks,
Sun Ra Arkestra,
One Last Wish, One Last Wish, One Last Wish, One Last Wish.
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.