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 Antigua and from Seoul.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1967 to 1971.
I'm losing my edge.
To all the kids in London and Salvador.
I'm losing my edge to the art-school Delhi 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 Robert Palmer 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 Derrick May to the crunk kids.
I played it at the Crocodile.
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 Brand Nubian. All the underground hits.
All Mad Mike tracks. I heard you have a vinyl of every Oneida record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Moleskins 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?
The Trojans,
Andrew Hill,
Sonic Youth,
Suicide,
Little Man,
Teenage Jesus and the Jerks,
Man Eating Sloth,
Young Marble Giants,
New Age Steppers,
Heavy D & The Boyz,
Gregory Isaacs,
Motorama,
The Mojo Men,
Pantytec,
Desert Stars,
Altered Images,
Chrome,
The Move,
Joyce Sims,
Funky Four + One,
Jeru the Damaja,
Oblivians,
Neil Young & Crazy Horse,
Los Fastidios,
The Mummies,
Ten City,
Crooked Eye,
Wolf Eyes,
Sällskapet,
The West Coast Pop Art Experimental Band,
Echo & the Bunnymen,
Camberwell Now,
Johnny Osbourne,
48th St. Collective,
Rhythm & Sound,
Rod Modell,
The Pretty Things,
Ludus,
Frankie Knuckles,
The Fall,
De La Soul & Jungle Brothers,
Duran Duran,
Jawbox,
Talk Talk,
The Index,
Barrington Levy,
Todd Rundgren,
The Smiths,
Drexciya,
Tom Boy,
Amon Düül,
UT,
Gil Scott-Heron & Brian Jackson,
Derrick May,
Isaac Hayes,
James Chance & The Contortions,
the Bar-Kays,
Siouxsie and the Banshees,
Camouflage,
Intrusion,
Deakin,
The Mighty Diamonds,
Funkadelic,
Public Enemy, Public Enemy, Public Enemy, Public Enemy.
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.