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 Ivory Coast and from Mumbai.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Mexico City and Madrid.
I'm losing my edge to the art-school Halifax 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 1984 at the first Arcadia practice in a loft in London.
I was working on the sitar 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 Roy Ayers Ubiquity to the dance kids.
I played it at the Hacienda.
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 Gichy Dan. All the underground hits.
All The Kinks tracks. I heard you have a vinyl of every Inner City record on German import.
I heard that you have a white label of every seminal disco 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 theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Terrestrial Tones,
Grey Daturas,
Oppenheimer Analysis,
Deakin,
Dual Sessions,
Spoonie Gee,
The Gories,
The Moleskins,
Bill Near,
Schoolly D,
London Community Gospel Choir,
The Fuzztones,
Fear,
Siouxsie and the Banshees,
Jeru the Damaja,
Sun Ra Arkestra,
Blossom Toes,
The Barracudas,
Derrick May,
Rakim,
Be Bop Deluxe,
Dead Boys,
John Coltrane,
Whodini,
Spandau Ballet,
Neil Young & Crazy Horse,
The Jesus and Mary Chain,
Scion,
Camberwell Now,
Bluetip,
Slave,
Drive Like Jehu,
Panda Bear,
The Dave Clark Five,
Grandmaster Flash and the Furious Five,
Notorious Big And Bone Thugs,
Gerry Rafferty,
Minnie Riperton,
The Last Poets,
The Monochrome Set,
The Star Department,
Bronski Beat,
Johnny Osbourne,
The Men They Couldn't Hang,
Newcleus,
FM Einheit,
The Remains,
Andrew Ashong & Theo Parrish,
Sam Rivers,
Marc Romboy vs. Booka Shade,
Electric Prunes,
Charles Mingus,
The Gap Band,
Mantronix,
Royal Trux,
Amon Düül II,
Mary Jane Girls,
Nico,
Ludus,
New Order,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
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.