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 Barbados and from Mexico City.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1966 to 1970.
I'm losing my edge.
To all the kids in Mumbai and Lagos.
I'm losing my edge to the art-school Stockholm 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 mellotron 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 Soft Cell to the rap kids.
I played it at the Roxy.
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 Steve Hackett. All the underground hits.
All De La Soul & Jungle Brothers tracks. I heard you have a vinyl of every Gang Green record on German import.
I heard that you have a white label of every seminal jazz 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 an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Saints,
Connie Case,
Bauhaus,
Sonny Sharrock,
Piero Umiliani,
Liliput,
Barbara Tucker,
Technova,
the Sonics,
Underground Resistance,
Franke,
The Fugs,
Orchestral Manoeuvres in the Dark,
Aaron Thompson,
Masters at Work,
The Count Five,
The Evens,
AZ,
Simply Red,
Scientists,
Boogie Down Productions,
Pole,
Stereo Dub,
Be Bop Deluxe,
Manfred Mann's Earth Band,
Idris Muhammad,
Bill Wells,
Terry Callier,
Kenny Larkin,
Donny Hathaway,
Electric Light Orchestra,
Gang of Four,
Soul Sonic Force,
Excepter,
Goldenarms,
The Cure,
cv313,
Jesper Dahlbäck,
Thompson Twins,
The Red Krayola,
The Alarm Clocks,
Metal Thangz,
The Sound,
The Seeds,
Toni Rubio,
Scion,
John Holt,
Joey Negro,
Eli Mardock,
Mark Hollis,
Grauzone,
Rites of Spring,
Crispy Ambulance,
Pharaoh Sanders and the Fire Engines,
The Fire Engines,
Popol Vuh,
the Normal,
Vainqueur,
Cameo,
Aswad,
Richard Hell and the Voidoids,
8 Eyed Spy,
Cal Tjader, Cal Tjader, Cal Tjader, Cal Tjader.
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.