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 Mexico and from Columbus.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Taipei and Johannesburg.
I'm losing my edge to the art-school Portland 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the marimba sounds with much patience.
I was there when Holger Czukay 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 Josef K to the techno kids.
I played it at the 40 Watt.
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 Kurtis Blow. All the underground hits.
All The Saints tracks. I heard you have a vinyl of every Section 25 record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Sound record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Wells,
Symarip,
Wings,
Jacques Brel,
Shoche,
Sticky Fingaz feat. Raekwon,
Pierre Henry,
La Düsseldorf,
Notorious BIG live in Amsterdam,
The Flesh Eaters,
Electric Prunes,
Soft Machine,
Robert Hood,
Kas Product,
Interpol,
John Coltrane,
The Selecter,
Glenn Branca,
Bobbi Humphrey,
Bronski Beat,
Ajijia Myrayebe,
Pharoah Sanders,
Sugar Minott,
The Sonics,
The Index,
Mo-Dettes,
Vladislav Delay,
Rekid,
H. Thieme,
the Swans,
OOIOO,
Qualms,
Eyeless In Gaza,
Nik Kershaw,
James Chance & The Contortions,
Young Marble Giants,
Parry Music,
Rotary Connection,
Anakelly,
Lalann,
Sam Rivers,
Tom Boy,
Albert Ayler,
Masters at Work,
Bluetip,
Newcleus,
F. McDonald,
Ralphi Rosario,
Echospace,
Section 25,
The Music Machine,
Pantytec,
Richard Hell and the Voidoids,
Robert Wyatt,
Bang On A Can,
Henry Cow,
Ultravox,
Quando Quango,
Sad Lovers and Giants,
Radio Birdman, Radio Birdman, Radio Birdman, Radio Birdman.
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.