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 Venezuela and from Salvador.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1977.
I'm losing my edge.
To all the kids in Lagos and Houston.
I'm losing my edge to the art-school Jakarta 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 linndrum 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 Danielle Patucci to the jazz kids.
I played it at the Astoria.
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 Crispian St. Peters. All the underground hits.
All Royal Trux tracks. I heard you have a vinyl of every John Foxx record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Eurythmics record.
I hear that you and your band have sold your theremin and bought a marimba.
I hear that you and your band have sold your marimba and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
FM Einheit,
Lou Reed & John Cale,
Yaz,
Accadde A,
John Coltrane,
Public Image Ltd.,
Avey Tare's Slasher Flicks,
Mars,
Oblivians,
The American Breed,
Pete Rock & C.L. Smooth,
Don Cherry,
Essential Logic,
Strawberry Alarm Clock,
Cabaret Voltaire,
the Soft Cell,
Ornette Coleman,
Simply Red,
Grauzone,
Skriet,
Black Pus,
Selector Dub Narcotic,
Tommy Roe,
The Royal Family And The Poor,
The Alarm Clocks,
Faraquet,
Newcleus,
Quadrant,
Electric Prunes,
Bobby Sherman,
Shuggie Otis,
The Offenders,
The Detroit Cobras,
Pole,
The Moody Blues,
Gil Scott-Heron and Jamie xx,
Johnny Osbourne,
Chris & Cosey,
Rosa Yemen,
Marc Almond,
New Order,
Teenage Jesus and the Jerks,
Camouflage,
Henry Cow,
Pharoah Sanders,
EPMD,
Bootsy Collins,
The Mojo Men,
Silicon Teens,
De La Soul & Jungle Brothers,
The Count Five,
Matthew Halsall,
Oppenheimer Analysis,
Gastr Del Sol,
Rhythim Is Rhythim,
Parry Music,
K-Klass,
Bang On A Can,
The Selecter,
Theoretical Girls,
Marc Romboy vs. Booka Shade,
The J.B.'s,
The Last Poets, The Last Poets, The Last Poets, The Last Poets.
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.