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 Mongolia and from Salvador.
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 1970.
I'm losing my edge.
To all the kids in Columbus and Calgary.
I'm losing my edge to the art-school Manila 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 arpeggiator sounds with much patience.
I was there when Nile Rodgers 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 Juan Atkins to the crunk 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 Notorious BIG live in Amsterdam. All the underground hits.
All Skarface tracks. I heard you have a vinyl of every Isaac Hayes 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 '60s cut and another box set from the '90s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Davy DMX record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Talk Talk,
Faust,
Yellowson,
Notorious Big And Bone Thugs,
The Names,
Adolescents,
It's A Beautiful Day,
Jacob Miller,
Rapeman,
the Sonics,
The Shadows of Knight,
Max Romeo,
Faraquet,
Panda Bear,
Orchestral Manoeuvres in the Dark,
Ludus,
Laurel Aitken,
L. Decosne,
Duran Duran,
Robert Hood,
Rufus Thomas,
Rhythm & Sound,
Saccharine Trust,
Deepchord,
The Blackbyrds,
Marmalade,
Quando Quango,
Jacques Brel,
Susan Cadogan,
Art Ensemble Of Chicago,
Barrington Levy,
Mad Mike,
Make Up,
Matthew Bourne,
MDC,
Liliput,
The Fugs,
David Axelrod,
Hoover,
Warsaw,
Fad Gadget,
Rekid,
Nils Olav,
Mandrill,
The Human League,
Minor Threat,
Maurizio,
Ponytail,
the Normal,
Visionaries,LMNO, T- Love & Iriscience,
Lizzy Mercier Descloux,
Sam Rivers,
Q65,
Heaven 17,
Eli Mardock,
The Monochrome Set,
Excepter,
Slick Rick,
Gian Franco Pienzio,
Bobbi Humphrey,
Crash Course in Science,
Althea and Donna,
Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe.
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.