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 Lithuania and from Tehran.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Lagos and Salvador.
I'm losing my edge to the art-school London 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 harpsichord sounds with much patience.
I was there when Nile Rodgers 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 Negative Approach to the grunge kids.
I played it at Cafe Wha.
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 Maleditus Sound. All the underground hits.
All Bill Near tracks. I heard you have a vinyl of every Leonard Cohen record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an oboe and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Tomorrow record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Swans,
Lizzy Mercier Descloux,
Gil Scott Heron,
Wighnomy Brothers & Robag Wruhme,
Sound Behaviour,
Hoover,
Pantytec,
Swell Maps,
Lonnie Liston Smith,
The Buckinghams,
Spandau Ballet,
Kerri Chandler,
Bang On A Can,
Notorious BIG live in Amsterdam,
Sex Pistols,
Visionaries,LMNO, T- Love & Iriscience,
Jandek,
Throbbing Gristle,
Anakelly,
Bill Wells,
Isaac Hayes,
Ken Boothe,
Gang of Four,
Anthony Braxton,
Zapp,
Sällskapet,
Marvin Gaye,
Audionom,
Parry Music,
New Age Steppers,
Amon Düül II,
Soft Machine,
The Evens,
Fort Wilson Riot,
The Leaves,
the Association,
Bill Near,
Reagan Youth,
Marc Almond,
Pharaoh Sanders and the Fire Engines,
The Invisible,
Fat Boys,
Porter Ricks,
Albert Ayler,
Monks,
The Real Kids,
Fear,
Ultravox,
The Associates,
Susan Cadogan,
Gregory Isaacs,
Kerrie Biddell,
The Knickerbockers,
The Chocolate Watch Band,
The Durutti Column,
Jeff Lynne,
Scott Walker + Sunn O))),
Kas Product,
Bobby Hutcherson, Bobby Hutcherson, Bobby Hutcherson, Bobby Hutcherson.
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.