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 Chad and from Philadelphia.
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 Lille and Houston.
I'm losing my edge to the art-school Milan 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 spring reverb 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 Arthur Verocai to the jazz 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 Black Moon. All the underground hits.
All Neil Young tracks. I heard you have a vinyl of every Lizzy Mercier Descloux 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 '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your 808 and bought an organ.
I hear that you and your band have sold your organ and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Count Five,
Panda Bear,
Moss Icon,
The Zeros,
Lou Reed & Metallica,
Icehouse,
The Fortunes,
UT,
Agitation Free,
Soft Machine,
Sly & The Family Stone,
Alton Ellis,
The Dave Clark Five,
Boredoms,
ABC,
Eyeless In Gaza,
Bang On A Can,
Black Moon,
T.S.O.L.,
Symarip,
Radiohead,
Sonny Sharrock,
The Gun Club,
The Cramps,
Unwound,
Mantronix,
Ornette Coleman,
The Cure,
Joe Finger,
The Smoke,
Radio Birdman,
Scratch Acid,
Theoretical Girls,
The Gap Band,
Kauko Röyhkä ja Narttu,
Delon & Dalcan,
KRS-One,
Lonnie Liston Smith,
Notorious Big And Bone Thugs,
the Swans,
The Birthday Party,
Strawberry Alarm Clock,
Pharaoh Sanders and the Fire Engines,
Rowland S Howard / Lydia Lunch,
Thompson Twins,
Wally Richardson,
Mission of Burma,
The West Coast Pop Art Experimental Band,
Malaria!,
Das Ding,
Ludus,
Funky Four + One,
Gregory Isaacs,
Jerry's Kids,
Soft Cell,
Echo & the Bunnymen,
Don Cherry,
Pet Shop Boys,
James White and The Blacks,
Frankie Knuckles,
U.S. Maple,
Sound Behaviour,
The Men They Couldn't Hang,
Essential Logic, Essential Logic, Essential Logic, Essential Logic.
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.