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 United Kingdom and from Copenhagen.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1962 to 1975.
I'm losing my edge.
To all the kids in Beijing and Sao Paulo.
I'm losing my edge to the art-school Mumbai 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 marimba 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 Eric Copeland to the disco kids.
I played it at Trash.
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 Alphaville. All the underground hits.
All Notorious Big And Bone Thugs tracks. I heard you have a vinyl of every Ponytail 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 '80s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Bill Wells record.
I hear that you and your band have sold your organ and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sugar Minott,
Camron Feat. Memphis Bleek And Beenie Seigel,
Pete Rock & C.L. Smooth,
Josef K,
Mars,
Kango’s Stein Massive,
Dennis Brown,
Beasts of Bourbon,
Qualms,
Rakim,
Aural Exciters,
H. Thieme,
Mantronix,
David Axelrod,
Faraquet,
Gang of Four,
Fifty Foot Hose,
Peter Gordon & Love of Life Orchestra,
Sandy B,
The Sisters of Mercy,
Outsiders,
The Happenings,
Talk Talk,
Alice Coltrane,
Darondo,
Visionaries,LMNO, T- Love & Iriscience,
The Doobie Brothers,
Bill Near,
Arab on Radar,
The Moody Blues,
Carl Craig,
EPMD,
Peter and Kerry,
The Shadows of Knight,
Rufus Thomas,
The Men They Couldn't Hang,
The Gap Band,
Jesper Dahlback,
Scott Walker + Sunn O))),
The Remains,
Duran Duran,
Lou Reed & John Cale,
The Fuzztones,
The Electric Prunes,
Pet Shop Boys,
Delta 5,
Sad Lovers and Giants,
the Sonics,
PIL,
Wire,
Clear Light,
Susan Cadogan,
Pierre Henry,
a-ha,
Lower 48,
Soft Machine,
Isaac Hayes,
Average White Band,
Sister Nancy,
Sam Rivers,
Lee Hazlewood, Lee Hazlewood, Lee Hazlewood, Lee Hazlewood.
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.