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 Finland and from Johannesburg.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Lyon and Mexico City.
I'm losing my edge to the art-school Copenhagen 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 organ 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 James Chance & The Contortions to the grime kids.
I played it at the Troubador.
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 Notorious Big And Bone Thugs. All the underground hits.
All Faraquet tracks. I heard you have a vinyl of every Lindisfarne 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 '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Tubeway Army record.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crime,
Alison Limerick,
These Immortal Souls,
Warsaw,
Kas Product,
X-101,
Slave,
Easy Going,
Make Up,
Peter Gordon & Love of Life Orchestra,
Matthew Halsall,
David Bowie,
Arab on Radar,
Soft Machine,
Black Bananas,
The Move,
June Days,
Tubeway Army,
Sandy B,
Morten Harket,
The Grass Roots,
The Blackbyrds,
H. Thieme,
Dawn Penn,
Kerrie Biddell,
D'Angelo,
the Germs,
Gary Puckett & The Union Gap,
Oppenheimer Analysis,
Amon Düül,
Procol Harum,
Grey Daturas,
Fear,
Wighnomy Brothers & Robag Wruhme,
De La Soul & Jungle Brothers,
Depeche Mode,
Teenage Jesus and the Jerks,
Jacques Brel,
Cluster,
Symarip,
Wasted Youth,
Intrusion,
Eurythmics,
MC5,
Fat Boys,
Letta Mbulu,
Susan Cadogan,
Sexual Harrassment,
Monolake,
The Dirtbombs,
Stockholm Monsters,
Rhythim Is Rhythim,
James Chance & The Contortions,
Ohio Players,
Crash Course in Science,
Jerry Gold Smith,
Art Ensemble Of Chicago,
48th St. Collective,
The Evens,
Parry Music,
Drexciya, Drexciya, Drexciya, Drexciya.
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.