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 Swaziland and from Philadelphia.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Toronto and Manchester.
I'm losing my edge to the art-school Tehran 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 arpeggiator sounds with much patience.
I was there when David Bowie 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 Swell Maps 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 The New Christs. All the underground hits.
All Alison Limerick tracks. I heard you have a vinyl of every Kas Product record on German import.
I heard that you have a white label of every seminal electroclash 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 a sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dawn Penn,
Stereo Dub,
Suicide,
Big Daddy Kane,
Joe Smooth,
Shuggie Otis,
Sticky Fingaz feat. Raekwon,
Delta 5,
The Techniques,
The Fall,
The Index,
R.M.O.,
Eric B and Rakim,
Porter Ricks,
Mary Jane Girls,
Kevin Saunderson,
Danielle Patucci,
Public Enemy,
Beasts of Bourbon,
Tears for Fears,
Bronski Beat,
Motorama,
Erasure,
The J.B.'s,
Sam Rivers,
Yellowson,
Delon & Dalcan,
Alton Ellis,
The Birthday Party,
Pierre Henry,
Terrestrial Tones,
Patti Smith,
Radio Birdman,
Warsaw,
Sight & Sound,
The Divine Comedy,
Henry Cow,
Deadbeat,
Hardrive,
Nick Fraelich,
Agent Orange,
Pantaleimon,
Lizzy Mercier Descloux,
The Victims,
Skarface,
Ajijia Myrayebe,
Lalann,
Wings,
Eyeless In Gaza,
Harpers Bizarre,
Magma,
Franke,
Ohio Players,
Lou Reed,
Lalo Schifrin,
The Toasters,
The Happenings,
The Grass Roots,
Quadrant,
June Days,
Warren Ellis,
Soft Machine,
DNA, DNA, DNA, DNA.
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.