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 Ghana and from Tehran.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1970.
I'm losing my edge.
To all the kids in Manchester and Manila.
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 1978 at the first Visage practice in a loft in London.
I was working on the arpeggiator 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 Alison Limerick to the grunge 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 Lee Hazlewood. All the underground hits.
All The Pretty Things tracks. I heard you have a vinyl of every Easy Going 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 '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a X-101 record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fort Wilson Riot,
Ornette Coleman,
Yusef Lateef,
Sandy B,
Cabaret Voltaire,
Brass Construction,
Accadde A,
Louis and Bebe Barron,
Blancmange,
Ultra Naté,
The Modern Lovers,
Rotary Connection,
Drexciya,
AZ,
Can,
Richard Hell and the Voidoids,
CMW,
Second Layer,
Piero Umiliani,
Television Personalities,
Vainqueur,
Fugazi,
Soul II Soul,
Boz Scaggs,
The Peanut Butter Conspiracy,
Orchestral Manoeuvres in the Dark,
The Victims,
Scion,
Panda Bear,
Gil Scott Heron,
Bobbi Humphrey,
Dr. Dre and Snoop Doggy Dog,
Malaria!,
Minor Threat,
Monolake,
Make Up,
Schoolly D,
Pierre Henry,
Main Source,
The Neon Judgement,
The Move,
Camberwell Now,
Lizzy Mercier Descloux,
James White and The Blacks,
Delta 5,
The Monks,
Rosa Yemen,
The Cure,
Röyhkä ja Rättö ja Lehtisalo,
Nick Cave & The Bad Seeds,
Moebius,
Sun Ra,
Minutemen,
Erykah Badu,
Q and Not U,
Ice-T,
The Flesh Eaters,
Kas Product,
The Doors,
Zapp,
John Foxx,
The Barracudas,
Nico,
Nils Olav, Nils Olav, Nils Olav, Nils Olav.
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.