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 Manchester.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 Jakarta and Milan.
I'm losing my edge to the art-school Tehran 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 linndrum 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 Lou Reed & John Cale to the electroclash kids.
I played it at the 40 Watt.
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 Jeff Lynne. All the underground hits.
All John Lydon tracks. I heard you have a vinyl of every The Monks record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Second Layer record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sugar Minott,
Wire,
Peter and Kerry,
Dual Sessions,
The Last Poets,
The Count Five,
Ohio Players,
Sunsets and Hearts,
Byron Stingily,
The Selecter,
Talk Talk,
Terror Squad Feat. Camron,
Pete Rock & C.L. Smooth,
Judy Mowatt,
Larry & the Blue Notes,
The Fall,
Mad Mike,
Quantec,
Buzzcocks,
Johnny Clarke,
Drive Like Jehu,
Pylon,
Hot Snakes,
World's Most,
David McCallum,
Blancmange,
CMW,
Lebanon Hanover,
Chrome,
Throbbing Gristle,
Organ,
Colin Newman,
Sex Pistols,
Chris & Cosey,
Interpol,
Sun City Girls,
The Standells,
Sight & Sound,
Ajijia Myrayebe,
The Men They Couldn't Hang,
Soul II Soul,
Harpers Bizarre,
Agitation Free,
Inner City,
The Flesh Eaters,
Television Personalities,
Sandy B,
DJ Style,
the Normal,
Accadde A,
Yusef Lateef,
The Grass Roots,
The Busters,
The Raincoats,
Jacob Miller,
a-ha,
Bush Tetras,
Hashim,
Royal Trux,
Masters at Work,
Kauko Röyhkä ja Narttu,
Unrelated Segments,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.