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 St Kitts & Nevis and from Portland.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Manchester and Madrid.
I'm losing my edge to the art-school Taipei 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 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 Blake Baxter to the dance 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 KRS-One. All the underground hits.
All Make Up tracks. I heard you have a vinyl of every Schoolly D record on German import.
I heard that you have a white label of every seminal punk 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 a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your theremin and bought a 808.
I hear that you and your band have sold your 808 and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harpers Bizarre,
Fort Wilson Riot,
Mr. Review,
David Bowie,
Bobby Sherman,
Donald Byrd,
Susan Cadogan,
Wolf Eyes,
Tomorrow,
Pantytec,
Mars,
Ten City,
Schoolly D,
Aswad,
Bluetip,
The Shadows of Knight,
Dorothy Ashby,
Bush Tetras,
Von Mondo,
Soft Machine,
Robert Görl,
EPMD,
Robert Hood,
Byron Stingily,
Kerrie Biddell,
This Heat,
LL Cool J,
the Swans,
Cybotron,
Gary Puckett & The Union Gap,
Sparks,
Letta Mbulu,
Vaughan Mason & Crew,
Subhumans,
Alison Limerick,
Warsaw,
Sunsets and Hearts,
Cabaret Voltaire,
Archie Shepp,
Fluxion,
The Associates,
Audionom,
Ralphi Rosario,
Maleditus Sound,
Art Ensemble Of Chicago,
Yaz,
Gichy Dan,
Avey Tare & Kría Brekkan,
Angels of Light & Akron/Family,
Peter and Kerry,
The Blackbyrds,
Glambeats Corp.,
Be Bop Deluxe,
Anakelly,
Sex Pistols,
The Cosmic Jokers,
Tears for Fears,
Chris Corsano,
Television Personalities,
Franke,
The Golliwogs,
Hasil Adkins,
Mantronix, Mantronix, Mantronix, Mantronix.
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.