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 Sierra Leone and from Madrid.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 Bologna and Hong Kong.
I'm losing my edge to the art-school Stockholm 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 sitar 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 Goldenarms to the disco kids.
I played it at the Hacienda.
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 The United States of America. All the underground hits.
All Das Ding tracks. I heard you have a vinyl of every Andrew Hill record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T.S.O.L.,
Make Up,
Drexciya,
Skarface,
Mission of Burma,
Swans,
The Kinks,
Sight & Sound,
Sound Behaviour,
Danielle Patucci,
Grandmaster Flash,
John Lydon,
48th St. Collective,
Ultravox,
Bootsy's Rubber Band,
Gang of Four,
The Neon Judgement,
Faust,
The West Coast Pop Art Experimental Band,
Negative Approach,
Althea and Donna,
Scott Walker,
Duran Duran,
the Sonics,
The Fugs,
The Wake,
Marc Almond,
Rapeman,
Sun City Girls,
Gang Starr,
Stetsasonic,
Jeff Mills,
Rotary Connection,
Mary Jane Girls,
Janne Schatter,
The Invisible,
Joey Negro,
Darondo,
Neil Young & Crazy Horse,
Scratch Acid,
Deadbeat,
Little Man,
Selector Dub Narcotic,
Throbbing Gristle,
Robert Hood,
Brothers Johnson,
Yellowson,
Kenny Larkin,
The Tremeloes,
Al Stewart,
Gil Scott-Heron and Jamie xx,
Tim Buckley,
Cymande,
Davy DMX,
Joe Finger,
The Cure,
It's A Beautiful Day,
The Cowsills,
Fugazi,
Röyhkä ja Rättö ja Lehtisalo,
Ultramagnetic MC's,
Mark Hollis,
Byron Stingily,
Anakelly, Anakelly, Anakelly, Anakelly.
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.