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 Argentina and from Accra.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Lyon and Hong Kong.
I'm losing my edge to the art-school Manila 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 harpsichord sounds with much patience.
I was there when Michael McDonald 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 Can to the grunge kids.
I played it at CBGB's.
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 Mark Hollis. All the underground hits.
All UT tracks. I heard you have a vinyl of every Aural Exciters record on German import.
I heard that you have a white label of every seminal grunge 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 a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Little Man record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stetsasonic,
The Fire Engines,
PIL,
The Litter,
DeepChord presents Echospace,
Joensuu 1685,
The Cosmic Jokers,
Camouflage,
Idris Muhammad,
Slave,
Fatback Band,
Kerrie Biddell,
The Evens,
Ronnie Foster,
Roy Ayers Ubiquity,
Hardrive,
Röyhkä ja Rättö ja Lehtisalo,
The Jesus and Mary Chain,
Eric Dolphy,
John Foxx,
Dorothy Ashby,
Alison Limerick,
Gil Scott-Heron & Brian Jackson,
Avey Tare & Kría Brekkan,
Deakin,
Matthew Bourne,
Sixth Finger,
Lee Hazlewood,
De La Soul & Jungle Brothers,
Soul II Soul,
Nico,
Rowland S Howard / Lydia Lunch,
Curtis Mayfield,
Intrusion,
The Fortunes,
Massinfluence,
Jacques Brel,
Cal Tjader,
Howard Jones,
Kango’s Stein Massive,
London Community Gospel Choir,
Mr. Review,
Skriet,
Marc Almond,
Laurel Aitken,
Arab on Radar,
New Order,
the Swans,
Tears for Fears,
Can,
Trumans Water,
Carl Craig,
Drexciya,
John Cale,
Robert Görl,
Ludus,
X-Ray Spex,
Model 500,
The Barracudas,
Rekid,
Marine Girls,
One Last Wish,
Bizarre Inc., Bizarre Inc., Bizarre Inc., Bizarre Inc..
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.