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 Lebanon and from Shanghai.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1965 to 1973.
I'm losing my edge.
To all the kids in London and Winnipeg.
I'm losing my edge to the art-school Glasgow 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 linndrum 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 The Young Rascals to the funk 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 Los Fastidios. All the underground hits.
All The Mojo Men tracks. I heard you have a vinyl of every Mantronix record on German import.
I heard that you have a white label of every seminal disco 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 chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeff Mills,
Surgeon,
Model 500,
The Monks,
The Kinks,
Alton Ellis,
Pulsallama,
Fort Wilson Riot,
Scratch Acid,
Man Eating Sloth,
Black Pus,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Stereo Dub,
Mo-Dettes,
Tears for Fears,
Black Moon,
Livin' Joy,
Bizarre Inc.,
Roger Hodgson,
H. Thieme,
Heavy D & The Boyz,
The Smoke,
Gang of Four,
Bobby Womack,
Ten City,
Minny Pops,
Lakeside,
Wighnomy Brothers & Robag Wruhme,
X-Ray Spex,
Crispy Ambulance,
Amon Düül,
Avey Tare's Slasher Flicks,
Barclay James Harvest,
Cybotron,
Quando Quango,
Boogie Down Productions,
Hashim,
Terry Callier,
John Coltrane,
Index,
Marc Almond,
The Cure,
Mission of Burma,
The Mummies,
Ronnie Foster,
Grey Daturas,
X-102,
the Slits,
A Certain Ratio,
Ultravox,
Magma,
Barry Ungar,
The West Coast Pop Art Experimental Band,
Arthur Verocai,
Interpol,
Goldenarms,
Kayak,
MDC,
Marvin Gaye,
Sun Ra Arkestra,
Hasil Adkins, Hasil Adkins, Hasil Adkins, Hasil Adkins.
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.