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 Greece and from Tehran.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1960 to 1972.
I'm losing my edge.
To all the kids in Portland and Halifax.
I'm losing my edge to the art-school Sao Paulo 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 arpeggiator sounds with much patience.
I was there when David Bowie 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 Massinfluence to the rock 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 Minnie Riperton. All the underground hits.
All The Fugs tracks. I heard you have a vinyl of every Bill Wells record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat 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?
Super Lover Cee & Casanova Rud,
Lafayette Afro Rock Band,
Althea and Donna,
Crime,
The J.B.'s,
Con Funk Shun,
Lee Hazlewood,
Max Romeo,
Soulsonic Force,
Scrapy,
New Order,
Los Fastidios,
Mandrill,
Jeru the Damaja,
Half Japanese,
Sam Rivers,
Bobby Sherman,
Fugazi,
Joensuu 1685,
The Zeros,
the Bar-Kays,
Nick Fraelich,
Rahsaan Roland Kirk,
Robert Wyatt,
Blancmange,
Hoover,
Henry Cow,
Freddie Wadling,
F. McDonald,
Parry Music,
Essential Logic,
Sister Nancy,
The Busters,
Jimmy McGriff,
Intrusion,
X-102,
Harmonia,
The Real Kids,
Albert Ayler,
Ultravox,
Avey Tare & Kría Brekkan,
Neu!,
Grandmaster Flash,
The Durutti Column,
Rod Modell,
Graham Central Station,
Judy Mowatt,
ABBA,
Mad Mike,
Ralphi Rosario,
Average White Band,
James White and The Blacks,
The Red Krayola,
Lalo Schifrin,
Groovy Waters,
The Mummies,
Gong,
Ultra Naté,
Section 25,
CMW,
The Pop Group,
John Coltrane,
Zero Boys,
the Germs, the Germs, the Germs, the Germs.
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.