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 Brunei and from Glasgow.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Spokane and Lille.
I'm losing my edge to the art-school Johannesburg 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 sitar sounds with much patience.
I was there when Donald Fagen 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 Marc Almond to the dance kids.
I played it at Cafe Wha.
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 Skriet. All the underground hits.
All Deakin tracks. I heard you have a vinyl of every Avey Tare's Slasher Flicks record on German import.
I heard that you have a white label of every seminal dance 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 chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Talk Talk record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobbi Humphrey,
Camron Feat. Memphis Bleek And Beenie Seigel,
Banda Bassotti,
Johnny Osbourne,
Peter Gordon & Love of Life Orchestra,
Gregory Isaacs,
Buzzcocks,
Essential Logic,
Mars,
Davy DMX,
Dorothy Ashby,
Negative Approach,
T.S.O.L.,
Suicide,
The Vogues,
Orchestral Manoeuvres in the Dark,
the Germs,
Tropical Tobacco,
The Detroit Cobras,
New York Dolls,
Beasts of Bourbon,
The Misunderstood,
The Electric Prunes,
Rowland S Howard / Lydia Lunch,
Soft Cell,
The Sonics,
Peter and Kerry,
Swell Maps,
Colin Newman,
Jeff Mills,
Rites of Spring,
the Soft Cell,
The Slits,
Maleditus Sound,
Chris & Cosey,
Kas Product,
Minutemen,
Kango’s Stein Massive,
Electric Prunes,
Mo-Dettes,
the Slits,
Ronan,
The Gap Band,
Parry Music,
The Fire Engines,
Bootsy Collins,
Zero Boys,
X-Ray Spex,
Masters at Work,
Anthony Braxton,
Bill Near,
The Alarm Clocks,
Moss Icon,
Connie Case,
Donald Byrd,
Grandmaster Flash and the Furious Five,
Jacob Miller,
ABC,
Mr. Review,
Goldenarms,
Oneida,
Whodini,
Kenny Larkin, Kenny Larkin, Kenny Larkin, Kenny Larkin.
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.