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 Bangladesh and from Stockholm.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Mumbai and Glasgow.
I'm losing my edge to the art-school Lyon 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the linndrum 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 Terry Callier to the electroclash kids.
I played it at CBGB's.
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 Misunderstood. All the underground hits.
All John Holt tracks. I heard you have a vinyl of every Lou Reed record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a sitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Red Lorry Yellow Lorry record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Association,
Rosa Yemen,
The Sisters of Mercy,
The Names,
Thinking Fellers Union Local 282,
Franke,
Kauko Röyhkä ja Narttu,
Boogie Down Productions,
Delta 5,
Roger Hodgson,
Bootsy Collins,
Byron Stingily,
Orchestral Manoeuvres in the Dark,
the Swans,
Soft Cell,
Adolescents,
The Buckinghams,
Eric Copeland,
R.M.O.,
Bill Near,
Fluxion,
Iggy Pop,
Average White Band,
Grandmaster Flash,
Piero Umiliani,
Little Man,
Kayak,
Laurel Aitken,
Nick Cave & The Bad Seeds,
B.T. Express,
Television Personalities,
The Victims,
Half Japanese,
Grandmaster Flash and the Furious Five,
Cymande,
Royal Trux,
Peter and Kerry,
Moebius,
Ronan,
Brick,
Livin' Joy,
Andrew Ashong & Theo Parrish,
Silicon Teens,
Wally Richardson,
New Age Steppers,
John Foxx,
Electric Light Orchestra,
Brand Nubian,
The Detroit Cobras,
The Dirtbombs,
Aloha Tigers,
Jimmy McGriff,
The Barracudas,
Archie Shepp,
Lalann,
Skaos,
Idris Muhammad,
The Gap Band,
Albert Ayler,
Godley & Creme,
MC5, MC5, MC5, MC5.
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.