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 Liechtenstein and from Copenhagen.
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 1972.
I'm losing my edge.
To all the kids in Beijing and Seoul.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the spring reverb sounds with much patience.
I was there when Donald Fagen 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 Moss Icon to the grime 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 Davy DMX. All the underground hits.
All The Pretty Things tracks. I heard you have a vinyl of every Marine Girls 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 '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Kings Of Tomorrow record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Donald Byrd,
Selector Dub Narcotic,
Pet Shop Boys,
Q and Not U,
The Men They Couldn't Hang,
The Real Kids,
Johnny Osbourne,
Hardrive,
The Standells,
Jacques Brel,
One Last Wish,
Glambeats Corp.,
Roger Hodgson,
Gregory Isaacs,
Bad Manners,
Quadrant,
Shuggie Otis,
Chris Corsano,
Cal Tjader,
Kerrie Biddell,
Guru Guru,
MC5,
Camouflage,
Quando Quango,
Supertramp,
The Red Krayola,
Blossom Toes,
Idris Muhammad,
Yusef Lateef,
Reuben Wilson,
The Mojo Men,
Alton Ellis,
Agitation Free,
Gil Scott Heron,
Bill Near,
Crash Course in Science,
Big Daddy Kane,
Icehouse,
Roy Ayers,
The American Breed,
Grey Daturas,
Country Teasers,
Niagra,
Saccharine Trust,
Skriet,
Kool Moe Dee,
Section 25,
Popol Vuh,
A Certain Ratio,
Albert Ayler,
Electric Light Orchestra,
Black Moon,
The Human League,
The Chocolate Watch Band,
Ajijia Myrayebe,
Angry Samoans,
the Germs,
Harry Pussy,
The Remains,
Angels of Light & Akron/Family,
Los Fastidios,
FM Einheit,
The Blackbyrds,
Matthew Bourne, Matthew Bourne, Matthew Bourne, Matthew Bourne.
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.