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 Tonga and from New York.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Mexico City and Glasgow.
I'm losing my edge to the art-school Spokane 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 güiro 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 Marshall Jefferson to the grunge kids.
I played it at the Roxy.
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 Andrew Hill. All the underground hits.
All Fad Gadget tracks. I heard you have a vinyl of every Oppenheimer Analysis record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Red Lorry Yellow Lorry record.
I hear that you and your band have sold your oboe and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sight & Sound,
Bauhaus,
Laurel Aitken,
Vaughan Mason & Crew,
Aswad,
The Gories,
The Cramps,
The Young Rascals,
Ituana,
La Düsseldorf,
Liliput,
Swell Maps,
James White and The Blacks,
Cecil Taylor,
Eddi Front,
The Moleskins,
Slave,
New Age Steppers,
Arcadia,
Gian Franco Pienzio,
The Five Americans,
the Normal,
The Associates,
The Misunderstood,
The Shadows of Knight,
Harpers Bizarre,
Tommy Roe,
The Divine Comedy,
L. Decosne,
Albert Ayler,
Rakim,
Glenn Branca,
The Doors,
The Black Dice,
Lou Reed & John Cale,
Al Stewart,
B.T. Express,
Red Lorry Yellow Lorry,
Circle Jerks,
The Dead C,
Thompson Twins,
The Index,
T. Rex,
The Gladiators,
Jacob Miller,
Babytalk,
Rod Modell,
Infiniti,
Essential Logic,
Aloha Tigers,
Reuben Wilson,
Oppenheimer Analysis,
Radio Birdman,
Hot Snakes,
The Golliwogs,
John Foxx,
Ultra Naté,
Howard Jones,
Radiopuhelimet,
Lou Christie,
David Axelrod, David Axelrod, David Axelrod, David Axelrod.
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.