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 Burundi and from Spokane.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Columbus and Copenhagen.
I'm losing my edge to the art-school Madrid 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 mellotron sounds with much patience.
I was there when Lou Reed 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 Camberwell Now to the dance kids.
I played it at the Roxy.
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 Index. All the underground hits.
All Selector Dub Narcotic tracks. I heard you have a vinyl of every Bill Near 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 '80s cut and another box set from the '80s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Faraquet record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joyce Sims,
The Five Americans,
Gichy Dan,
Scott Walker + Sunn O))),
Minor Threat,
Average White Band,
The Motions,
The Alarm Clocks,
Bill Near,
Infiniti,
A Certain Ratio,
ABC,
Don Cherry,
Barbara Tucker,
U.S. Maple,
Gastr Del Sol,
Matthew Halsall,
Vaughan Mason & Crew,
China Crisis,
Trumans Water,
Guru Guru,
Kurtis Blow,
Maurizio,
Sun Ra Arkestra,
Fear,
Suburban Knight,
Godley & Creme,
Ultramagnetic MC's,
Ossler,
Ultravox,
T. Rex,
Erasure,
The Happenings,
Public Image Ltd.,
the Sonics,
Marvin Gaye,
The Toasters,
Panda Bear,
Agitation Free,
Major Organ And The Adding Machine,
La Düsseldorf,
Warren Ellis,
The Fire Engines,
Scott Walker,
Josef K,
Monks,
Jeff Mills,
Scratch Acid,
Blossom Toes,
Fela Kuti,
KRS-One,
Fugazi,
Vladislav Delay,
Ituana,
Bob Dylan,
The Zeros,
Parry Music,
Rhythim Is Rhythim,
Cybotron,
The Last Poets,
The Beau Brummels,
Zapp, Zapp, Zapp, Zapp.
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.