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 France and from Portland.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Milan and Accra.
I'm losing my edge to the art-school Shanghai 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 synthesizer 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 Aaron Thompson to the punk kids.
I played it at the Hacienda.
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 Accadde A. All the underground hits.
All Minny Pops tracks. I heard you have a vinyl of every Heavy D & The Boyz 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 '50s cut and another box set from the '80s.
I hear you're buying a marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Kaleidoscope record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Massinfluence,
Girls At Our Best!,
Theoretical Girls,
the Fania All-Stars,
Kango’s Stein Massive,
Morten Harket,
Bill Wells,
Glenn Branca,
F. McDonald,
Gastr Del Sol,
Barry Ungar,
UT,
Quantec,
The Shadows of Knight,
Red Lorry Yellow Lorry,
Vainqueur,
Q and Not U,
Mr. Review,
the Association,
Slick Rick,
Eyeless In Gaza,
Lou Christie,
Thinking Fellers Union Local 282,
Eric Copeland,
Skaos,
Kool Moe Dee,
Radiohead,
Charles Mingus,
Laurel Aitken,
Kenny Larkin,
Marine Girls,
Vaughan Mason & Crew,
Shoche,
The United States of America,
The Angels of Light,
The Last Poets,
Lightning Bolt,
Y Pants,
Rotary Connection,
The Mojo Men,
Curtis Mayfield,
Piero Umiliani,
Johnny Clarke,
Black Bananas,
Metal Thangz,
Make Up,
Warren Ellis,
The Moody Blues,
Pantaleimon,
Deadbeat,
The Residents,
Marshall Jefferson,
the Soft Cell,
The Mummies,
Sound Behaviour,
Wings,
Zero Boys,
The West Coast Pop Art Experimental Band,
Rowland S Howard / Lydia Lunch,
Andrew Ashong & Theo Parrish,
Deutsch Amerikanische Freundschaft,
Sugar Minott,
Tubeway Army, Tubeway Army, Tubeway Army, Tubeway Army.
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.