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 Seychelles and from Manchester.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Halifax and Manila.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the marimba 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 New Age Steppers to the disco 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 The Seeds. All the underground hits.
All Scion tracks. I heard you have a vinyl of every Deakin record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Rhythim Is Rhythim record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
The Chocolate Watch Band,
Ultra Naté,
Bronski Beat,
Man Parrish,
Soft Machine,
Black Flag,
Skaos,
Anakelly,
Dave Gahan,
Essential Logic,
The Star Department,
Whodini,
Country Joe & The Fish,
The Remains,
Hoover,
Second Layer,
Orchestral Manoeuvres in the Dark,
Lafayette Afro Rock Band,
Aswad,
David Axelrod,
Matthew Halsall,
Black Pus,
Pylon,
Unrelated Segments,
Pharoah Sanders,
Inner City,
Flash Fearless,
the Association,
Nirvana,
Charles Mingus,
Lower 48,
Jesper Dahlbäck,
Peter & Gordon,
Rahsaan Roland Kirk,
Avey Tare & Kría Brekkan,
The Litter,
Maurizio,
The Fuzztones,
Nico,
Bill Wells,
Mark Hollis,
Man Eating Sloth,
Warren Ellis,
Laurel Aitken,
Drive Like Jehu,
Trumans Water,
Talk Talk,
Crime,
CMW,
Blossom Toes,
Dennis Brown,
Hashim,
Bobby Sherman,
The Count Five,
Teenage Jesus and the Jerks,
MDC,
AZ,
X-Ray Spex,
The Index,
Hot Snakes, Hot Snakes, Hot Snakes, Hot Snakes.
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.