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 Nicaragua and from Edmonton.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Portland and Salvador.
I'm losing my edge to the art-school Bologna 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 harpsichord 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 The Trojans to the electroclash 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 Jeff Mills. All the underground hits.
All Carl Craig tracks. I heard you have a vinyl of every Man Eating Sloth record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Victims record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eyeless In Gaza,
Anthony Braxton,
Big Daddy Kane,
Gary Puckett & The Union Gap,
X-Ray Spex,
Sad Lovers and Giants,
Jimmy McGriff,
Man Parrish,
CMW,
the Bar-Kays,
The Golliwogs,
Henry Cow,
Vaughan Mason & Crew,
Spandau Ballet,
Altered Images,
The Men They Couldn't Hang,
the Sonics,
The Moleskins,
Danielle Patucci,
Alison Limerick,
Nick Cave & The Bad Seeds,
Curtis Mayfield,
Japan,
The Fugs,
T.S.O.L.,
the Germs,
Jerry Gold Smith,
Porter Ricks,
the Swans,
Surgeon,
Andrew Hill,
David McCallum,
Ultramagnetic MC's,
Visionaries,LMNO, T- Love & Iriscience,
Susan Cadogan,
Glambeats Corp.,
Mars,
Half Japanese,
Brick,
AZ,
Procol Harum,
The Birthday Party,
Mandrill,
Toni Rubio,
Skarface,
The Electric Prunes,
Deadbeat,
Strawberry Alarm Clock,
The Buckinghams,
Franke,
Terror Squad Feat. Camron,
Gabor Szabo,
Orchestral Manoeuvres in the Dark,
Rakim,
Boz Scaggs,
London Community Gospel Choir,
Eurythmics,
L. Decosne,
Second Layer,
Crooked Eye,
Technova,
The Invisible,
Reagan Youth, Reagan Youth, Reagan Youth, Reagan Youth.
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.