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 Jamaica and from Johannesburg.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Houston and London.
I'm losing my edge to the art-school Lyon 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 theremin 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 China Crisis to the crunk kids.
I played it at the 40 Watt.
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 The Knickerbockers. All the underground hits.
All Soft Cell tracks. I heard you have a vinyl of every U.S. Maple 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 '90s.
I hear you're buying an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Motions record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Youth Brigade,
Sly & The Family Stone,
The Seeds,
Marmalade,
Pantytec,
Magazine,
Mad Mike,
Kango’s Stein Massive,
Hot Snakes,
the Normal,
Lee Hazlewood,
Hoover,
Banda Bassotti,
Gil Scott Heron,
Don Cherry,
Parry Music,
Gichy Dan,
Fear,
Fort Wilson Riot,
Nirvana,
Ludus,
Gian Franco Pienzio,
Joy Division,
Mark Hollis,
Orchestral Manoeuvres in the Dark,
Joyce Sims,
Bootsy's Rubber Band,
Rotary Connection,
Camouflage,
Siouxsie and the Banshees,
Jerry's Kids,
The Fall,
The Residents,
Half Japanese,
The Martian,
Boogie Down Productions,
The Move,
Boz Scaggs,
Rosa Yemen,
Roxette,
OOIOO,
A Flock of Seagulls,
Lou Reed & Metallica,
The Flesh Eaters,
Intrusion,
Dorothy Ashby,
Rowland S Howard / Lydia Lunch,
Bang On A Can,
Stetsasonic,
Moebius,
Rhythm & Sound,
Motorama,
Anthony Braxton,
Alison Limerick,
Lyres,
Jerry Gold Smith,
Ossler,
Cabaret Voltaire,
Japan,
Barclay James Harvest,
Joensuu 1685,
The Birthday Party, The Birthday Party, The Birthday Party, The Birthday Party.
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.