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 Croatia and from Lille.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Bremen and Stockholm.
I'm losing my edge to the art-school Delhi 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 1984 at the first Arcadia practice in a loft in London.
I was working on the theremin sounds with much patience.
I was there when Lou Reed 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 Absolute Body Control to the funk kids.
I played it at the 40 Watt.
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 Michelle Simonal. All the underground hits.
All Das Ding tracks. I heard you have a vinyl of every Peter Gordon & Love of Life Orchestra record on German import.
I heard that you have a white label of every seminal funk 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 harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Gong record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cowsills,
Super Lover Cee & Casanova Rud,
Harmonia,
The Smiths,
The Misunderstood,
Marc Almond,
Audionom,
Amazonics,
Gabor Szabo,
Nik Kershaw,
The Slits,
Electric Light Orchestra,
Bobby Womack,
London Community Gospel Choir,
The Flesh Eaters,
Eddi Front,
The Five Americans,
Donald Byrd,
Hashim,
Amon Düül,
OOIOO,
Cabaret Voltaire,
T.S.O.L.,
Mo-Dettes,
Franke,
Heavy D & The Boyz,
The Kinks,
Inner City,
Barry Ungar,
The Litter,
Grey Daturas,
Electric Prunes,
X-101,
Brass Construction,
Joey Negro,
The Sonics,
Sunsets and Hearts,
Subhumans,
Wally Richardson,
The Index,
Susan Cadogan,
Siglo XX,
Marcia Griffiths,
The Evens,
Stereo Dub,
The Alarm Clocks,
Blancmange,
Ken Boothe,
Section 25,
Kaleidoscope,
Delta 5,
Davy DMX,
Bill Near,
The Victims,
The Sisters of Mercy,
Traffic Nightmare,
Blake Baxter,
Anthony Braxton,
Pulsallama,
Ralphi Rosario,
Fluxion,
the Normal, the Normal, the Normal, the Normal.
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.