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 Guinea-Bissau and from Delhi.
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 1971.
I'm losing my edge.
To all the kids in New York and Portland.
I'm losing my edge to the art-school Accra 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 mellotron sounds with much patience.
I was there when Holger Czukay 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 Don Cherry to the jazz kids.
I played it at Trash.
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 John Lydon. All the underground hits.
All Chris & Cosey tracks. I heard you have a vinyl of every Liaisons Dangereuses record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a guitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Desert Stars 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?
Juan Atkins,
Jeff Lynne,
Hoover,
Altered Images,
Nas,
Bush Tetras,
James Chance & The Contortions,
R.M.O.,
Rotary Connection,
Kas Product,
Flamin' Groovies,
Michelle Simonal,
Grandmaster Flash and the Furious Five,
Basic Channel,
Vaughan Mason & Crew,
Lebanon Hanover,
Letta Mbulu,
Charles Mingus,
Quadrant,
Wire,
Bootsy's Rubber Band,
Section 25,
The Star Department,
Darondo,
Captain Beefheart & His Magic Band,
Guru Guru,
Roxy Music,
Main Source,
Gang Starr,
The Knickerbockers,
Saccharine Trust,
John Holt,
Massinfluence,
Matthew Halsall,
Camouflage,
Strawberry Alarm Clock,
Black Bananas,
Whodini,
Cecil Taylor,
Black Pus,
Eve St. Jones,
London Community Gospel Choir,
Young Marble Giants,
Neu!,
Nik Kershaw,
Kings Of Tomorrow,
Sparks,
Brass Construction,
Heavy D & The Boyz,
The Zeros,
Gang of Four,
Stereo Dub,
Bluetip,
AZ,
Sugar Minott,
Sun Ra,
Gabor Szabo,
Sexual Harrassment,
Dave Gahan,
Funkadelic,
Dorothy Ashby,
Groovy Waters,
Kenny Larkin, Kenny Larkin, Kenny Larkin, Kenny Larkin.
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.