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 Comoros and from Shanghai.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Glasgow and Tokyo.
I'm losing my edge to the art-school Spokane 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the mellotron 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 Unrelated Segments to the funk kids.
I played it at the Astoria.
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 Bootsy Collins. All the underground hits.
All The Detroit Cobras tracks. I heard you have a vinyl of every Eden Ahbez 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 '70s cut and another box set from the '80s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Bizarre Inc. record.
I hear that you and your band have sold your marimba and bought an oboe.
I hear that you and your band have sold your oboe and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Girls At Our Best!,
Carl Craig,
Nick Fraelich,
Robert Görl,
Flash Fearless,
Grauzone,
Wire,
Sarah Menescal,
The Standells,
Nils Olav,
Marvin Gaye,
Hoover,
Nas,
Sly & The Family Stone,
Easy Going,
Fifty Foot Hose,
Make Up,
Art Ensemble Of Chicago,
The Dirtbombs,
Supertramp,
De La Soul & Jungle Brothers,
Gong,
Jeru the Damaja,
Marc Almond,
Soul II Soul,
Yaz,
The Leaves,
Nik Kershaw,
Sound Behaviour,
Anakelly,
Accadde A,
FM Einheit,
Johnny Osbourne,
Harpers Bizarre,
Alphaville,
Wolf Eyes,
Barbara Tucker,
Procol Harum,
Minnie Riperton,
Bizarre Inc.,
Qualms,
Röyhkä ja Rättö ja Lehtisalo,
Stetsasonic,
Kango’s Stein Massive,
Crash Course in Science,
Japan,
Oneida,
Das Ding,
ABC,
Cybotron,
Sonny Sharrock,
These Immortal Souls,
Nico,
Gian Franco Pienzio,
Bobby Womack,
D'Angelo,
Au Pairs,
The Cosmic Jokers,
The Mighty Diamonds,
Sparks,
Sunsets and Hearts,
Excepter,
Chrome,
Country Teasers,
Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson.
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.