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 Egypt and from Stockholm.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Stockholm and Salvador.
I'm losing my edge to the art-school Madrid 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the linndrum sounds with much patience.
I was there when Nile Rodgers 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 Patti Smith to the disco kids.
I played it at the Troubador.
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 Sonics. All the underground hits.
All Parry Music tracks. I heard you have a vinyl of every Graham Central Station record on German import.
I heard that you have a white label of every seminal punk 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 chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gories,
The Remains,
Tim Buckley,
It's A Beautiful Day,
Isaac Hayes,
Throbbing Gristle,
Agent Orange,
Electric Light Orchestra,
Schoolly D,
Lightning Bolt,
Essential Logic,
Little Man,
Sun Ra Arkestra,
Orchestral Manoeuvres in the Dark,
Thinking Fellers Union Local 282,
The Cramps,
The Skatalites,
MC5,
The Walker Brothers,
Matthew Bourne,
Dual Sessions,
Matthew Halsall,
Monolake,
Fat Boys,
Television,
Avey Tare's Slasher Flicks,
Sunsets and Hearts,
Theoretical Girls,
Chris & Cosey,
Mr. Review,
The Techniques,
Boredoms,
Easy Going,
Tropical Tobacco,
Soft Cell,
Mad Mike,
N.O.R.E. Featuring Pharrell,
Shoche,
Kool Moe Dee,
Pantaleimon,
Zapp,
Eli Mardock,
The Flesh Eaters,
Gabor Szabo,
Manfred Mann's Earth Band,
Reuben Wilson,
Röyhkä ja Rättö ja Lehtisalo,
Spoonie Gee,
Oneida,
Marine Girls,
The Slits,
Frankie Knuckles,
The Beau Brummels,
Minnie Riperton,
The Dave Clark Five,
Teenage Jesus and the Jerks,
Colin Newman,
Kings Of Tomorrow,
Roger Hodgson,
Sam Rivers,
Strawberry Alarm Clock,
Girls At Our Best!, Girls At Our Best!, Girls At Our Best!, Girls At Our Best!.
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.