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 Libya and from Lagos.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Shanghai and Stockholm.
I'm losing my edge to the art-school Salvador 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 chamberlin 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 Jesper Dahlback to the punk kids.
I played it at Cafe Wha.
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 Avey Tare. All the underground hits.
All The Busters tracks. I heard you have a vinyl of every Super Lover Cee & Casanova Rud record on German import.
I heard that you have a white label of every seminal rap 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 marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Ludus record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
Larry & the Blue Notes,
Todd Rundgren,
The Golliwogs,
Joe Finger,
Bauhaus,
The Blackbyrds,
Procol Harum,
Jeru the Damaja,
The Divine Comedy,
Barry Ungar,
The Young Rascals,
Barrington Levy,
Sixth Finger,
E-Dancer,
In Retrospect,
Godley & Creme,
Cluster,
Mary Jane Girls,
The Slits,
Albert Ayler,
Gang of Four,
JFA,
Unrelated Segments,
Cecil Taylor,
Arcadia,
Surgeon,
Jerry's Kids,
Ultimate Spinach,
Louis and Bebe Barron,
Visage,
Roxy Music,
Scan 7,
Joensuu 1685,
Guru Guru,
The Seeds,
Animal Collective,
Dawn Penn,
Eurythmics,
Gong,
Andrew Hill,
Susan Cadogan,
Donald Byrd,
Soul II Soul,
Pantaleimon,
The Smoke,
Röyhkä ja Rättö ja Lehtisalo,
Brothers Johnson,
John Lydon,
Jesper Dahlbäck,
Judy Mowatt,
Masters at Work,
Major Organ And The Adding Machine,
Bobby Byrd,
Crash Course in Science,
Malaria!,
Country Teasers,
Laurel Aitken,
the Slits,
The Music Machine,
Ohio Players, Ohio Players, Ohio Players, Ohio Players.
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.