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 Ivory Coast and from Lille.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Columbus and Lagos.
I'm losing my edge to the art-school London 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 synthesizer sounds with much patience.
I was there when Michael McDonald 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 Sister Nancy to the techno kids.
I played it at the Spitz.
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 Young Marble Giants. All the underground hits.
All R.M.O. tracks. I heard you have a vinyl of every Duran Duran 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 '70s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Liliput record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-102,
Idris Muhammad,
Cybotron,
The Blues Magoos,
Aaron Thompson,
the Fania All-Stars,
Chris & Cosey,
Lafayette Afro Rock Band,
Jacques Brel,
Magazine,
The Neon Judgement,
ABC,
Pierre Henry,
Blossom Toes,
Outsiders,
The West Coast Pop Art Experimental Band,
Sandy B,
Essential Logic,
Lakeside,
Peter Gordon & Love of Life Orchestra,
Index,
The Litter,
The Divine Comedy,
Absolute Body Control,
Crime,
Marc Almond,
The Mummies,
Johnny Clarke,
Fugazi,
Kings Of Tomorrow,
Boredoms,
Radiopuhelimet,
Camberwell Now,
Crispian St. Peters,
Faraquet,
Drive Like Jehu,
Liliput,
David Bowie,
Bush Tetras,
Rotary Connection,
Sarah Menescal,
Negative Approach,
Can,
Dual Sessions,
B.T. Express,
Tim Buckley,
Donald Byrd,
Big Daddy Kane,
Kerri Chandler,
Fort Wilson Riot,
Al Stewart,
Amazonics,
Wighnomy Brothers & Robag Wruhme,
Kango’s Stein Massive,
Vainqueur,
Country Teasers,
Tom Boy,
Bill Near,
Zero Boys,
Ultramagnetic MC's,
The Real Kids,
Scott Walker + Sunn O))),
Quantec, Quantec, Quantec, Quantec.
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.