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 Poland and from Manila.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 Columbus and Edmonton.
I'm losing my edge to the art-school Johannesburg 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 organ sounds with much patience.
I was there when Robert Palmer 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 jazz kids.
I played it at CBGB's.
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 Avey Tare. All the underground hits.
All Suburban Knight tracks. I heard you have a vinyl of every June of 44 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 '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Drexciya record.
I hear that you and your band have sold your sitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ludus,
Ronnie Foster,
Camouflage,
Stereo Dub,
The Barracudas,
The Vogues,
Scan 7,
The Searchers,
Magazine,
The Gladiators,
Flash Fearless,
H. Thieme,
Sugar Minott,
UT,
Kurtis Blow,
Red Lorry Yellow Lorry,
Johnny Osbourne,
Dave Gahan,
Supertramp,
Lalo Schifrin,
Fear,
Peter & Gordon,
The Blues Magoos,
The Martian,
Siglo XX,
Deepchord,
Lower 48,
Jerry's Kids,
Gang Green,
Visionaries,LMNO, T- Love & Iriscience,
Andrew Ashong & Theo Parrish,
Theoretical Girls,
The Electric Prunes,
Kango’s Stein Massive,
DJ Style,
Pantytec,
Gabor Szabo,
Chris & Cosey,
Graham Central Station,
Cecil Taylor,
The Kinks,
Gang Gang Dance,
Motorama,
Blossom Toes,
The Doors,
Sam Rivers,
Scott Walker,
Louis and Bebe Barron,
Crime,
Fluxion,
Little Man,
Royal Trux,
Nation of Ulysses,
Hardrive,
Steve Hackett,
Shoche,
Bizarre Inc.,
Public Image Ltd.,
Newcleus,
Rites of Spring,
Circle Jerks, Circle Jerks, Circle Jerks, Circle Jerks.
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.