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 Belarus and from Cairo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Columbus and Beijing.
I'm losing my edge to the art-school Spokane 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 rhodes 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 Idris Muhammad to the techno 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 The Pretty Things. All the underground hits.
All The Smiths tracks. I heard you have a vinyl of every Crash Course in Science 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 '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Quantec record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Christie,
Roy Ayers Ubiquity,
The Techniques,
The Dead C,
Von Mondo,
Aswad,
Michelle Simonal,
Swans,
ABBA,
Tim Buckley,
Soul II Soul,
Young Marble Giants,
Zero Boys,
Drive Like Jehu,
Big Daddy Kane,
Eden Ahbez,
Notorious BIG live in Amsterdam,
PIL,
Black Flag,
Niagra,
Röyhkä ja Rättö ja Lehtisalo,
Quantec,
Royal Trux,
The Music Machine,
The Searchers,
Index,
Mad Mike,
One Last Wish,
Hardrive,
Au Pairs,
Average White Band,
Freddie Wadling,
The Star Department,
the Normal,
Hasil Adkins,
Chris & Cosey,
Louis and Bebe Barron,
Ituana,
Oblivians,
Avey Tare & Kría Brekkan,
The Fire Engines,
Dual Sessions,
Altered Images,
Arthur Verocai,
The Flesh Eaters,
ABC,
Audionom,
Sonny Sharrock,
Severed Heads,
Lower 48,
Lungfish,
Cabaret Voltaire,
Country Joe & The Fish,
The Golliwogs,
Joey Negro,
Beasts of Bourbon,
Cal Tjader,
Arab on Radar,
John Holt, John Holt, John Holt, John Holt.
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.