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 France and from Manila.
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 1975.
I'm losing my edge.
To all the kids in Milan and Stockholm.
I'm losing my edge to the art-school Sao Paulo 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the arpeggiator 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 Angry Samoans to the techno 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 Gastr Del Sol. All the underground hits.
All Blake Baxter tracks. I heard you have a vinyl of every Gary Puckett & The Union Gap record on German import.
I heard that you have a white label of every seminal disco 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 an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Quadrant record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Parrish,
Josef K,
The Victims,
Henry Cow,
Todd Terry,
Flamin' Groovies,
Selector Dub Narcotic,
Darondo,
The Royal Family And The Poor,
Brothers Johnson,
Ronnie Foster,
Mr. Review,
Eyeless In Gaza,
Sonic Youth,
Gastr Del Sol,
The Names,
Index,
the Soft Cell,
Lou Reed & John Cale,
The Black Dice,
The Gladiators,
Bizarre Inc.,
The Count Five,
Electric Prunes,
Alice Coltrane,
Bobby Womack,
Skarface,
Livin' Joy,
Monolake,
Drive Like Jehu,
The New Christs,
FM Einheit,
Deutsch Amerikanische Freundschaft,
Art Ensemble Of Chicago,
Deadbeat,
Mark Hollis,
Rakim,
The Mojo Men,
The Fortunes,
Peter & Gordon,
Bush Tetras,
Can,
Frankie Knuckles,
Nirvana,
kango's stein massive,
The Mighty Diamonds,
The Residents,
Marine Girls,
the Slits,
Swell Maps,
Crispian St. Peters,
Oppenheimer Analysis,
Derrick Morgan,
Jesper Dahlbäck,
Joe Finger,
E-Dancer,
Babytalk,
Sarah Menescal,
Sound Behaviour,
The Beau Brummels,
Jerry Gold Smith,
Marshall Jefferson,
Theoretical Girls,
Procol Harum,
Amon Düül II, Amon Düül II, Amon Düül II, Amon Düül II.
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.