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 Yemen and from Lagos.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Sao Paulo and Tokyo.
I'm losing my edge to the art-school Copenhagen 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the synthesizer 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 Fear 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 Isaac Hayes. All the underground hits.
All Eric Dolphy tracks. I heard you have a vinyl of every the Normal record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Terrestrial Tones record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Buckinghams,
Interpol,
Avey Tare,
Rowland S Howard / Lydia Lunch,
Bobby Womack,
Lightning Bolt,
Jeff Lynne,
Pete Rock & C.L. Smooth,
Visionaries,LMNO, T- Love & Iriscience,
Camberwell Now,
Adolescents,
Funkadelic,
Notorious BIG live in Amsterdam,
Pulsallama,
Aural Exciters,
The Chocolate Watch Band,
Black Pus,
Peter and Kerry,
Can,
Pussy Galore,
Erasure,
Gichy Dan,
Japan,
Lucky Dragons,
The Human League,
The Names,
Lee Hazlewood,
Liliput,
Glambeats Corp.,
Heaven 17,
The Knickerbockers,
Darondo,
Television,
Donny Hathaway,
Mission of Burma,
Visage,
The Slits,
Lyres,
Derrick May,
Sun Ra,
Blake Baxter,
Röyhkä ja Rättö ja Lehtisalo,
the Swans,
Gang of Four,
The Moody Blues,
Gabor Szabo,
Arcadia,
Mr. Review,
Unrelated Segments,
kango's stein massive,
The Sisters of Mercy,
Sällskapet,
The Fire Engines,
Vaughan Mason & Crew,
Ash Ra Tempel,
Lower 48,
Chris & Cosey,
Deadbeat,
The Fortunes,
Throbbing Gristle,
Soul II Soul,
Quando Quango,
The Shadows of Knight,
John Foxx, John Foxx, John Foxx, John Foxx.
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.