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 Mexico and from Portland.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Houston and Lagos.
I'm losing my edge to the art-school Paris 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the arpeggiator 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 Justin Hinds & The Dominoes to the techno 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 Vladislav Delay. All the underground hits.
All Black Flag tracks. I heard you have a vinyl of every Underground Resistance record on German import.
I heard that you have a white label of every seminal rock 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 an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Bourne record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stiv Bators,
Babytalk,
DeepChord presents Echospace,
Roxy Music,
Pete Rock & C.L. Smooth,
Crooked Eye,
This Heat,
The Blues Magoos,
Joey Negro,
Dennis Brown,
Q and Not U,
Howard Jones,
Skaos,
Quando Quango,
KRS-One,
Man Parrish,
New Order,
Prince Buster,
Moby Grape,
Electric Prunes,
Nation of Ulysses,
Todd Rundgren,
Lou Christie,
Bobby Womack,
Eric Copeland,
Traffic Nightmare,
Colin Newman,
Fort Wilson Riot,
Lindisfarne,
Bang on a Can All-Stars,
Aloha Tigers,
R.M.O.,
Newcleus,
Byron Stingily,
Tears for Fears,
Nik Kershaw,
Rakim,
Sandy B,
The Monochrome Set,
The Gladiators,
Deutsch Amerikanische Freundschaft,
Funky Four + One,
The Divine Comedy,
Flash Fearless,
Soft Machine,
Trumans Water,
Joe Smooth,
Talk Talk,
Sarah Menescal,
Pere Ubu,
Althea and Donna,
Wasted Youth,
New Age Steppers,
Radiopuhelimet,
Icehouse,
Bob Dylan,
Japan,
Mr. Review,
Eden Ahbez,
Orchestral Manoeuvres in the Dark,
Audionom,
Slave, Slave, Slave, Slave.
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.