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 El Salvador and from Mumbai.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Toronto and Paris.
I'm losing my edge to the art-school Salvador 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the rhodes 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 Eden Ahbez 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 Bootsy's Rubber Band. All the underground hits.
All Cymande tracks. I heard you have a vinyl of every Ornette Coleman 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 '60s cut and another box set from the '70s.
I hear you're buying a marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soul Sonic Force,
Bang on a Can All-Stars,
Bizarre Inc.,
The Saints,
the Swans,
Lucky Dragons,
Joensuu 1685,
Johnny Osbourne,
Bob Dylan,
Henry Cow,
Electric Light Orchestra,
The Remains,
Magma,
The Men They Couldn't Hang,
Bobby Womack,
Dead Boys,
The Moody Blues,
Colin Newman,
Delon & Dalcan,
Tim Buckley,
Hasil Adkins,
Gil Scott-Heron and Jamie xx,
Ohio Players,
The Tremeloes,
E-Dancer,
Gang Green,
Tropical Tobacco,
The Residents,
ABBA,
Theoretical Girls,
Larry & the Blue Notes,
The New Christs,
Sugar Minott,
Liaisons Dangereuses,
Laurel Aitken,
Sun City Girls,
Accadde A,
Boz Scaggs,
Soft Machine,
Glambeats Corp.,
Flash Fearless,
Monks,
Procol Harum,
Massinfluence,
the Normal,
De La Soul & Jungle Brothers,
The Mighty Diamonds,
Notorious Big And Bone Thugs,
Inner City,
Newcleus,
Darondo,
Absolute Body Control,
Gong,
Rotary Connection,
Ossler,
Notorious BIG live in Amsterdam,
Teenage Jesus and the Jerks,
Roxy Music,
Mandrill,
The Red Krayola, The Red Krayola, The Red Krayola, The Red Krayola.
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.