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 Argentina and from Cairo.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1966 to 1974.
I'm losing my edge.
To all the kids in Houston and Seoul.
I'm losing my edge to the art-school Cairo 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 808 sounds with much patience.
I was there when Holger Czukay 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 Schoolly D to the disco 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 Brick. All the underground hits.
All Gil Scott Heron tracks. I heard you have a vinyl of every Gregory Isaacs 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 '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Visage record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eddi Front,
Soul II Soul,
Richard Hell and the Voidoids,
Ultramagnetic MC's,
Magma,
Desert Stars,
Henry Cow,
Sam Rivers,
Gabor Szabo,
Traffic Nightmare,
Juan Atkins,
Banda Bassotti,
Faust,
Terry Callier,
Eurythmics,
Crash Course in Science,
Eyeless In Gaza,
Aswad,
Sun Ra Arkestra,
Ohio Players,
Nas,
Blake Baxter,
The Neon Judgement,
Deakin,
Electric Light Orchestra,
Jacob Miller,
Kurtis Blow,
Matthew Bourne,
Rites of Spring,
The Residents,
Absolute Body Control,
Pulsallama,
Sex Pistols,
Gang Starr,
The Flesh Eaters,
Pete Rock & C.L. Smooth,
Gichy Dan,
The Jesus and Mary Chain,
Cybotron,
Siglo XX,
Bobbi Humphrey,
Tommy Roe,
Gil Scott Heron,
Black Sheep,
A Certain Ratio,
Joe Smooth,
Anthony Braxton,
Theoretical Girls,
Crispian St. Peters,
Jimmy McGriff,
Suburban Knight,
Barrington Levy,
Sun Ra,
Alison Limerick,
Section 25,
Wire,
New York Dolls,
Country Teasers,
The Tremeloes, The Tremeloes, The Tremeloes, The Tremeloes.
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.