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 Bremen.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Taipei and Lagos.
I'm losing my edge to the art-school Johannesburg 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 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 B.T. Express to the electroclash kids.
I played it at the Crocodile.
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 Television Personalities. All the underground hits.
All The J.B.'s tracks. I heard you have a vinyl of every Dave Gahan record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a snare and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anthony Braxton,
Mad Mike,
Al Stewart,
Throbbing Gristle,
The Birthday Party,
Bad Manners,
Thompson Twins,
Ralphi Rosario,
The Zeros,
Black Bananas,
Big Daddy Kane,
The Men They Couldn't Hang,
The Sound,
Richard Hell and the Voidoids,
Siglo XX,
Blossom Toes,
Pagans,
Wally Richardson,
the Fania All-Stars,
Nico,
Tomorrow,
Laurel Aitken,
Half Japanese,
London Community Gospel Choir,
Patti Smith,
Wire,
Janne Schatter,
Electric Light Orchestra,
Neil Young,
Rowland S Howard / Lydia Lunch,
Minny Pops,
Eddi Front,
Jesper Dahlback,
Parry Music,
Rotary Connection,
PIL,
Susan Cadogan,
Model 500,
Maurizio,
Glambeats Corp.,
Rod Modell,
Suburban Knight,
the Normal,
Pete Rock & C.L. Smooth,
Youth Brigade,
Bobbi Humphrey,
Pharaoh Sanders and the Fire Engines,
Ajijia Myrayebe,
The Kinks,
Althea and Donna,
Monolake,
Boogie Down Productions,
Fugazi,
Technova,
Sam Rivers,
Eden Ahbez,
Stereo Dub,
Amazonics,
Aaron Thompson,
The Pop Group,
Beasts of Bourbon,
Mr. Review,
Swell Maps, Swell Maps, Swell Maps, Swell Maps.
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.