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 Guinea and from Copenhagen.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1960 to 1979.
I'm losing my edge.
To all the kids in Edmonton and Philadelphia.
I'm losing my edge to the art-school Taipei 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 guitar 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 Pylon to the grime kids.
I played it at the Spitz.
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 Robert Hood. All the underground hits.
All Glenn Branca tracks. I heard you have a vinyl of every Cabaret Voltaire 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 '70s.
I hear you're buying a harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Gories record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rotary Connection,
Mars,
The Doors,
Main Source,
Zero Boys,
John Foxx,
Bootsy Collins,
Symarip,
Grandmaster Flash and the Furious Five,
10cc,
The Walker Brothers,
Pharaoh Sanders and the Fire Engines,
Boogie Down Productions,
Gregory Isaacs,
James Chance & The Contortions,
The Neon Judgement,
Newcleus,
Inner City,
Bad Manners,
The Doobie Brothers,
Avey Tare's Slasher Flicks,
Leonard Cohen,
The New Christs,
Shuggie Otis,
Joey Negro,
Outsiders,
Nik Kershaw,
Urselle,
Tears for Fears,
Morten Harket,
EPMD,
The Names,
Amon Düül,
David Bowie,
Ronnie Foster,
B.T. Express,
the Bar-Kays,
Public Enemy,
Toni Rubio,
Arab on Radar,
UT,
Mary Jane Girls,
Bauhaus,
Gil Scott-Heron and Jamie xx,
Dark Day,
Vainqueur,
Strawberry Alarm Clock,
Dead Boys,
The Beau Brummels,
L. Decosne,
Audionom,
Quando Quango,
Mr. Review,
DNA,
Bizarre Inc.,
The Black Dice,
Joy Division,
Charles Mingus,
Bluetip,
Sonic Youth,
Nirvana,
Mandrill, Mandrill, Mandrill, Mandrill.
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.