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 Russia and from Mexico City.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Woodstock and Delhi.
I'm losing my edge to the art-school Copenhagen 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 mellotron 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 Urselle to the disco kids.
I played it at the Troubador.
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 Fatback Band. All the underground hits.
All Tropical Tobacco tracks. I heard you have a vinyl of every Derrick May 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 '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Joensuu 1685 record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
H. Thieme,
Lakeside,
Rakim,
The Toasters,
London Community Gospel Choir,
Television,
Albert Ayler,
Jacques Brel,
Pussy Galore,
A Flock of Seagulls,
Porter Ricks,
Zero Boys,
Sticky Fingaz feat. Raekwon,
Arcadia,
Anakelly,
Chris & Cosey,
Chris Corsano,
The Martian,
T.S.O.L.,
The Fugs,
Pharaoh Sanders and the Fire Engines,
Robert Hood,
B.T. Express,
Liaisons Dangereuses,
Depeche Mode,
This Heat,
Freddie Wadling,
Henry Cow,
Derrick May,
De La Soul & Jungle Brothers,
David Axelrod,
Graham Central Station,
Alice Coltrane,
The Count Five,
Los Fastidios,
Tropical Tobacco,
Scott Walker + Sunn O))),
ABC,
The Smoke,
Agitation Free,
The Five Americans,
Infiniti,
Nico,
The Last Poets,
Angels of Light & Akron/Family,
Isaac Hayes,
Wighnomy Brothers & Robag Wruhme,
Can,
John Foxx,
Clear Light,
In Retrospect,
Banda Bassotti,
Adolescents,
Jerry Gold Smith,
Agent Orange,
The Happenings,
Pulsallama,
Pharoah Sanders,
The Jesus and Mary Chain,
Terrestrial Tones,
Matthew Bourne,
The Index,
Bobby Sherman, Bobby Sherman, Bobby Sherman, Bobby Sherman.
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.