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 Papua New Guinea and from Milan.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Manila and Edmonton.
I'm losing my edge to the art-school Sao Paulo 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 Outsiders 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 Gang Gang Dance. All the underground hits.
All Crispy Ambulance tracks. I heard you have a vinyl of every Circle Jerks record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Babytalk record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Osbourne,
Lyres,
Connie Case,
Ralphi Rosario,
Massinfluence,
Bluetip,
Stockholm Monsters,
Aaron Thompson,
Lalann,
Joyce Sims,
Terrestrial Tones,
Cheater Slicks,
Aloha Tigers,
Tomorrow,
Eric B and Rakim,
B.T. Express,
Tubeway Army,
The Seeds,
The Sonics,
Avey Tare & Kría Brekkan,
the Germs,
David McCallum,
Kayak,
ABC,
Kool Moe Dee,
Gil Scott Heron,
Sandy B,
Rahsaan Roland Kirk,
Clear Light,
Cybotron,
Negative Approach,
X-101,
Nik Kershaw,
The Skatalites,
Super Lover Cee & Casanova Rud,
Sam Rivers,
Chris & Cosey,
The Moody Blues,
The Doors,
Mark Hollis,
Rowland S Howard / Lydia Lunch,
Section 25,
The United States of America,
Ultramagnetic MC's,
Pierre Henry,
Cal Tjader,
The Blues Magoos,
Mad Mike,
Pete Rock & C.L. Smooth,
the Human League,
Lee Hazlewood,
Parry Music,
The Busters,
Con Funk Shun,
Marc Romboy vs. Booka Shade,
X-102,
PIL,
the Sonics,
Q65,
Morten Harket,
Hardrive, Hardrive, Hardrive, Hardrive.
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.