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 Honduras and from Seoul.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Salvador and Manila.
I'm losing my edge to the art-school Taipei 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 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 Surgeon to the disco kids.
I played it at Cafe Wha.
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 Pharaoh Sanders and the Fire Engines. All the underground hits.
All Grauzone tracks. I heard you have a vinyl of every Lou Christie record on German import.
I heard that you have a white label of every seminal grime 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 spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Grass Roots record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marshall Jefferson,
Michelle Simonal,
Richard Hell and the Voidoids,
Deutsch Amerikanische Freundschaft,
Neil Young & Crazy Horse,
Monks,
Pere Ubu,
Intrusion,
Nick Fraelich,
Glambeats Corp.,
Ronan,
John Foxx,
Crash Course in Science,
OOIOO,
Andrew Hill,
New Order,
Chris Corsano,
Leonard Cohen,
Colin Newman,
Cabaret Voltaire,
Bobby Byrd,
The Men They Couldn't Hang,
Soulsonic Force,
Guru Guru,
Delta 5,
The Star Department,
Eyeless In Gaza,
Don Cherry,
Larry & the Blue Notes,
The Fuzztones,
Mary Jane Girls,
Eric B and Rakim,
The West Coast Pop Art Experimental Band,
Gastr Del Sol,
Barry Ungar,
FM Einheit,
CMW,
Matthew Halsall,
Sparks,
Thinking Fellers Union Local 282,
Index,
John Holt,
Skaos,
Heaven 17,
June of 44,
PIL,
Kango’s Stein Massive,
The Cosmic Jokers,
The Cure,
Crime,
EPMD,
Von Mondo,
Tim Buckley,
The Trojans,
Marvin Gaye,
Faraquet,
Masters at Work,
Chrome,
London Community Gospel Choir,
Jesper Dahlbäck,
Drive Like Jehu,
Joyce Sims, Joyce Sims, Joyce Sims, Joyce Sims.
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.