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 Cyprus and from Tehran.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Hong Kong and Hong Kong.
I'm losing my edge to the art-school Milan 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the theremin sounds with much patience.
I was there when Lou Reed 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 K-Klass to the rap kids.
I played it at the Roxy.
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 DNA. All the underground hits.
All Nico tracks. I heard you have a vinyl of every Brothers Johnson record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a B.T. Express record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Girls At Our Best!,
Sister Nancy,
Nik Kershaw,
Jeff Mills,
Fifty Foot Hose,
The Buckinghams,
Sparks,
Loose Ends,
Richard Hell and the Voidoids,
Scrapy,
Godley & Creme,
OOIOO,
Marshall Jefferson,
The Wake,
New Age Steppers,
The Sisters of Mercy,
Jerry's Kids,
U.S. Maple,
Crooked Eye,
Jandek,
The Count Five,
Pierre Henry,
Johnny Clarke,
Dark Day,
the Association,
Ituana,
Selector Dub Narcotic,
MC5,
Max Romeo,
Barrington Levy,
Terror Squad Feat. Camron,
Oppenheimer Analysis,
Television Personalities,
Gerry Rafferty,
Massinfluence,
Stiv Bators,
Camberwell Now,
Alton Ellis,
Sarah Menescal,
Rapeman,
Grauzone,
Bobby Hutcherson,
The Gun Club,
Cluster,
The Angels of Light,
Erykah Badu,
The Standells,
Fela Kuti,
Lakeside,
Glambeats Corp.,
10cc,
Sam Rivers,
Bad Manners,
Ultramagnetic MC's,
Fear,
Roger Hodgson,
Monolake,
Sonic Youth,
cv313,
Underground Resistance,
Can,
Brick, Brick, Brick, Brick.
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.