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 Seychelles and from Delhi.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 Portland and Columbus.
I'm losing my edge to the art-school Spokane 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 chamberlin 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 Silicon Teens to the jazz kids.
I played it at Cafe Wha.
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 Byron Stingily. All the underground hits.
All A Flock of Seagulls tracks. I heard you have a vinyl of every The Shadows of Knight record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Ajijia Myrayebe record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Walker Brothers,
Cymande,
David McCallum,
Robert Hood,
Notorious Big And Bone Thugs,
Nation of Ulysses,
Gil Scott Heron,
Minor Threat,
Drive Like Jehu,
Bobby Hutcherson,
World's Most,
Angels of Light & Akron/Family,
Jimmy McGriff,
Porter Ricks,
The Red Krayola,
Joe Finger,
Pantaleimon,
Clear Light,
Nik Kershaw,
Tears for Fears,
The Knickerbockers,
Eli Mardock,
Marshall Jefferson,
Lightning Bolt,
The Doobie Brothers,
Supertramp,
Absolute Body Control,
Half Japanese,
Dark Day,
Peter and Kerry,
Second Layer,
The Gun Club,
The Misunderstood,
Slave,
Lee Hazlewood,
The New Christs,
James Chance & The Contortions,
Ponytail,
Man Parrish,
Max Romeo,
Interpol,
Frankie Knuckles,
Animal Collective,
Andrew Hill,
Matthew Bourne,
Metal Thangz,
Donald Byrd,
Shoche,
Yazoo,
Japan,
the Normal,
Agitation Free,
Fifty Foot Hose,
the Bar-Kays,
Bobby Sherman,
Lizzy Mercier Descloux,
the Germs,
Curtis Mayfield,
Rowland S Howard / Lydia Lunch,
Heaven 17,
Amon Düül II,
T. Rex, T. Rex, T. Rex, T. Rex.
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.