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 Trinidad & Tobago and from Hong Kong.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1972.
I'm losing my edge.
To all the kids in Woodstock and Copenhagen.
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 Michael McDonald 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 The Tremeloes to the punk kids.
I played it at the Troubador.
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 Robert Hood. All the underground hits.
All Archie Shepp tracks. I heard you have a vinyl of every The Vogues 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 '90s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Fad Gadget record.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick May,
Masters at Work,
Electric Light Orchestra,
The Motions,
Franke,
Dorothy Ashby,
Bobby Hutcherson,
Tom Boy,
Kurtis Blow,
Smog,
Drive Like Jehu,
Throbbing Gristle,
Kango’s Stein Massive,
Rufus Thomas,
The Velvet Underground,
Vladislav Delay,
Avey Tare & Kría Brekkan,
Simply Red,
It's A Beautiful Day,
Eli Mardock,
Country Teasers,
Gang Green,
China Crisis,
Blossom Toes,
The Five Americans,
Aural Exciters,
Little Man,
Chrome,
Moebius,
Pere Ubu,
Khruangbin,
Gregory Isaacs,
The Electric Prunes,
Frankie Knuckles,
Icehouse,
Minnie Riperton,
The Pop Group,
The Music Machine,
Anthony Braxton,
The Names,
Agent Orange,
Television Personalities,
Inner City,
Todd Rundgren,
Sixth Finger,
Yusef Lateef,
Thee Headcoats,
D'Angelo,
Harpers Bizarre,
Althea and Donna,
Roxy Music,
Captain Beefheart & His Magic Band,
Toni Rubio,
Larry & the Blue Notes,
John Lydon,
Newcleus,
Roger Hodgson,
Absolute Body Control,
Con Funk Shun,
Maurizio,
Harry Pussy,
Main Source,
Banda Bassotti, Banda Bassotti, Banda Bassotti, Banda Bassotti.
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.