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 Tunisia and from Johannesburg.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Salvador and Mumbai.
I'm losing my edge to the art-school Glasgow 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Erasure to the disco kids.
I played it at the Hacienda.
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 Jesper Dahlbäck. All the underground hits.
All KRS-One tracks. I heard you have a vinyl of every Henry Cow 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 '60s cut and another box set from the '90s.
I hear you're buying a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The J.B.'s record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Mad Mike,
Urselle,
Wasted Youth,
Moby Grape,
Adolescents,
Desert Stars,
Goldenarms,
Bang On A Can,
Drexciya,
Peter & Gordon,
The Modern Lovers,
The Dead C,
Black Sheep,
Black Moon,
The West Coast Pop Art Experimental Band,
The Walker Brothers,
Wings,
John Lydon,
Radiopuhelimet,
Sällskapet,
Pierre Henry,
Fluxion,
Ultramagnetic MC's,
Crooked Eye,
Soft Cell,
Lucky Dragons,
The Slackers,
Marc Almond,
Ossler,
Moss Icon,
Oppenheimer Analysis,
The Busters,
The Moody Blues,
Pantaleimon,
Chris & Cosey,
John Cale,
The Music Machine,
Brand Nubian,
Kango’s Stein Massive,
DJ Sneak,
Glenn Branca,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Can,
Albert Ayler,
Lou Reed & John Cale,
Swans,
World's Most,
Cal Tjader,
Archie Shepp,
Gang Green,
Andrew Ashong & Theo Parrish,
Franke,
Underground Resistance,
Hashim,
Television,
Throbbing Gristle,
Rowland S Howard / Lydia Lunch,
Wire,
Joy Division,
Terrestrial Tones,
Angry Samoans,
Steve Hackett, Steve Hackett, Steve Hackett, Steve Hackett.
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.