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 Benin and from Columbus.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Madrid and Cairo.
I'm losing my edge to the art-school New York 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the theremin 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 Suburban Knight to the disco kids.
I played it at CBGB's.
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 Chrome. All the underground hits.
All Steve Hackett tracks. I heard you have a vinyl of every Pharoah Sanders record on German import.
I heard that you have a white label of every seminal jazz 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 harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Vaughan Mason & Crew record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Supertramp,
Visage,
Franke,
The Moleskins,
Easy Going,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Fortunes,
Swans,
John Holt,
Arthur Verocai,
Faust,
Man Eating Sloth,
Bauhaus,
Rhythm & Sound,
Albert Ayler,
Kevin Saunderson,
Bang on a Can All-Stars,
Buzzcocks,
Kings Of Tomorrow,
Tears for Fears,
Malaria!,
Gong,
The Human League,
Groovy Waters,
Clear Light,
Ronan,
Todd Terry,
Andrew Hill,
Trumans Water,
The Index,
Neil Young & Crazy Horse,
London Community Gospel Choir,
The Stooges,
Main Source,
Suburban Knight,
X-102,
Moss Icon,
Brothers Johnson,
Mark Hollis,
June Days,
Electric Light Orchestra,
Spandau Ballet,
U.S. Maple,
R.M.O.,
Pole,
the Soft Cell,
Con Funk Shun,
Guru Guru,
Sex Pistols,
Ice-T,
Sarah Menescal,
Bobby Womack,
Bluetip,
The Red Krayola,
Nik Kershaw,
Ten City,
Erykah Badu,
Ohio Players,
Ultramagnetic MC's,
Stiv Bators,
Roxy Music,
Siglo XX,
The Sisters of Mercy,
Cheater Slicks, Cheater Slicks, Cheater Slicks, Cheater Slicks.
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.