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 Micronesia and from Cairo.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Delhi and Beijing.
I'm losing my edge to the art-school Madrid 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the theremin 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 H. Thieme to the punk kids.
I played it at the Astoria.
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 Zeros. All the underground hits.
All Man Eating Sloth tracks. I heard you have a vinyl of every Funky Four + One 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 '60s cut and another box set from the '90s.
I hear you're buying an organ and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Eurythmics record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Todd Rundgren,
Bang On A Can,
Carl Craig,
Cameo,
Kango’s Stein Massive,
Lonnie Liston Smith,
Sun Ra Arkestra,
Slick Rick,
Pantytec,
Joe Smooth,
The Dirtbombs,
Gang of Four,
Danielle Patucci,
Quantec,
Thompson Twins,
Rekid,
Lalann,
Piero Umiliani,
Red Lorry Yellow Lorry,
Absolute Body Control,
Soft Machine,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Skriet,
The West Coast Pop Art Experimental Band,
Dark Day,
Nation of Ulysses,
Kayak,
D'Angelo,
Livin' Joy,
Sun Ra,
Anakelly,
the Sonics,
Colin Newman,
Second Layer,
Susan Cadogan,
The Music Machine,
Parry Music,
Arthur Verocai,
Rowland S Howard / Lydia Lunch,
The Zeros,
EPMD,
Spandau Ballet,
Quando Quango,
Mo-Dettes,
Spoonie Gee,
Theoretical Girls,
The Cure,
Sandy B,
Steve Hackett,
The Associates,
Radio Birdman,
Echospace,
Derrick Morgan,
Severed Heads,
Sam Rivers,
Eurythmics,
Pierre Henry,
Liaisons Dangereuses,
The Litter,
DNA,
Juan Atkins,
Wolf Eyes, Wolf Eyes, Wolf Eyes, Wolf Eyes.
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.