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 Comoros and from Beijing.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1960 to 1972.
I'm losing my edge.
To all the kids in Mexico City and Seoul.
I'm losing my edge to the art-school Manchester 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 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 The Black Dice to the jazz 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 Eli Mardock. All the underground hits.
All John Foxx tracks. I heard you have a vinyl of every Brick 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 '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Gian Franco Pienzio record.
I hear that you and your band have sold your snare and bought a marimba.
I hear that you and your band have sold your marimba and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drive Like Jehu,
Sonny Sharrock,
Todd Terry,
David Axelrod,
Sly & The Family Stone,
The Alarm Clocks,
Ultra Naté,
Sunsets and Hearts,
Stereo Dub,
Quantec,
Kool Moe Dee,
Youth Brigade,
These Immortal Souls,
Drexciya,
Black Pus,
De La Soul & Jungle Brothers,
The Gories,
The Fire Engines,
The Cowsills,
Gong,
The Blues Magoos,
The Beau Brummels,
Ornette Coleman,
Patti Smith,
Stiv Bators,
Anthony Braxton,
Jeff Mills,
The Walker Brothers,
The Pop Group,
The Velvet Underground,
Soulsonic Force,
Godley & Creme,
T. Rex,
The Red Krayola,
The Angels of Light,
Faraquet,
Severed Heads,
Dual Sessions,
Art Ensemble Of Chicago,
The Moody Blues,
Metal Thangz,
The Wake,
Yellowson,
Brass Construction,
Gil Scott Heron,
The Index,
The Smiths,
Section 25,
Brothers Johnson,
Kayak,
Swans,
Barry Ungar,
Susan Cadogan,
F. McDonald,
Laurel Aitken,
The Associates,
Parry Music,
Bobbi Humphrey,
Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic.
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.