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 Dominican Republic and from Houston.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Manila and Mumbai.
I'm losing my edge to the art-school Philadelphia 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 synthesizer sounds with much patience.
I was there when Robert Palmer 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 James Chance & The Contortions to the grunge 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 The Smiths. All the underground hits.
All Average White Band tracks. I heard you have a vinyl of every Thinking Fellers Union Local 282 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 an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Visage record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Terrestrial Tones,
Desert Stars,
Slick Rick,
Blossom Toes,
A Flock of Seagulls,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Harpers Bizarre,
Rapeman,
Main Source,
The Alarm Clocks,
Super Lover Cee & Casanova Rud,
B.T. Express,
Echospace,
Lungfish,
Fifty Foot Hose,
Piero Umiliani,
Swans,
Notorious BIG live in Amsterdam,
Amon Düül,
Susan Cadogan,
Michelle Simonal,
The Sound,
Urselle,
Frankie Knuckles,
Rod Modell,
Matthew Halsall,
Hot Snakes,
The Kinks,
Henry Cow,
Tres Demented,
Scion,
Lightning Bolt,
Quando Quango,
Fluxion,
Grandmaster Flash and the Furious Five,
Tubeway Army,
The Moody Blues,
Joey Negro,
Fad Gadget,
Mad Mike,
Vainqueur,
Roy Ayers Ubiquity,
Soft Machine,
Judy Mowatt,
Deepchord,
Angels of Light & Akron/Family,
Half Japanese,
Depeche Mode,
Big Daddy Kane,
Ken Boothe,
De La Soul & Jungle Brothers,
Rhythim Is Rhythim,
Radiohead,
DNA,
Goldenarms,
Roger Hodgson,
DJ Sneak,
Man Eating Sloth,
Little Man,
Derrick Morgan,
New Age Steppers,
Bizarre Inc., Bizarre Inc., Bizarre Inc., Bizarre Inc..
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.