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 Ecuador and from Manila.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Shanghai and Johannesburg.
I'm losing my edge to the art-school Taipei 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 marimba sounds with much patience.
I was there when David Bowie 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 Bizarre Inc. to the electroclash kids.
I played it at the Spitz.
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 Names. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every The Move record on German import.
I heard that you have a white label of every seminal disco 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 guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Depeche Mode record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
These Immortal Souls,
Negative Approach,
June Days,
cv313,
Terror Squad Feat. Camron,
Country Joe & The Fish,
Bluetip,
Talk Talk,
Heavy D & The Boyz,
The Stooges,
Qualms,
Accadde A,
Symarip,
The Happenings,
Boz Scaggs,
The Peanut Butter Conspiracy,
Thinking Fellers Union Local 282,
Bobbi Humphrey,
Gil Scott-Heron & Brian Jackson,
Marine Girls,
Altered Images,
Henry Cow,
Liaisons Dangereuses,
Trumans Water,
Main Source,
Matthew Bourne,
Electric Prunes,
Cecil Taylor,
Art Ensemble Of Chicago,
Intrusion,
Bill Wells,
Public Image Ltd.,
the Soft Cell,
Bad Manners,
Delta 5,
Strawberry Alarm Clock,
Teenage Jesus and the Jerks,
Drive Like Jehu,
Nick Fraelich,
Tropical Tobacco,
Grandmaster Flash,
Angels of Light & Akron/Family,
Radiopuhelimet,
Model 500,
Mad Mike,
Jacques Brel,
The Buckinghams,
Rod Modell,
Ralphi Rosario,
The Velvet Underground,
Yusef Lateef,
David McCallum,
Arthur Verocai,
Swell Maps,
Avey Tare's Slasher Flicks,
Lou Reed & John Cale,
Camberwell Now,
Bizarre Inc.,
The Victims,
Bob Dylan,
Hasil Adkins,
Section 25,
Lucky Dragons, Lucky Dragons, Lucky Dragons, Lucky Dragons.
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.