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 Ireland and from Manila.
But I was there.
I was there in 1973.
I was there at the first Television 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 1966 to 1973.
I'm losing my edge.
To all the kids in Madrid and Glasgow.
I'm losing my edge to the art-school Stockholm 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 mellotron sounds with much patience.
I was there when Captain Beefheart 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 Suburban Knight to the funk kids.
I played it at the Spitz.
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 Boredoms. All the underground hits.
All Matthew Bourne tracks. I heard you have a vinyl of every Rowland S Howard / Lydia Lunch 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 '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Chris & Cosey record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
June of 44,
Bobby Sherman,
The Detroit Cobras,
The Skatalites,
James Chance & The Contortions,
The Sound,
Cameo,
Malaria!,
The Doors,
Kayak,
Stiv Bators,
Major Organ And The Adding Machine,
Arab on Radar,
Gregory Isaacs,
Kevin Saunderson,
The Names,
Siglo XX,
Gil Scott Heron,
Marc Romboy vs. Booka Shade,
Agitation Free,
Ajijia Myrayebe,
Zero Boys,
kango's stein massive,
ABBA,
Nick Fraelich,
Nils Olav,
Boogie Down Productions,
Robert Wyatt,
Lou Reed & John Cale,
Stockholm Monsters,
Make Up,
8 Eyed Spy,
Marmalade,
Lalann,
The Fall,
Soul II Soul,
Heaven 17,
Gabor Szabo,
Curtis Mayfield,
The Barracudas,
Metal Thangz,
Slick Rick,
T.S.O.L.,
Loose Ends,
Das Ding,
Radiohead,
Dawn Penn,
X-101,
Selector Dub Narcotic,
Funky Four + One,
The Wake,
Essential Logic,
Lyres,
Pantytec,
Eyeless In Gaza,
New Age Steppers,
Barbara Tucker,
Al Stewart,
Depeche Mode,
Harpers Bizarre,
Reagan Youth,
Dave Gahan,
Absolute Body Control, Absolute Body Control, Absolute Body Control, Absolute Body Control.
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.