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 Nigeria and from Glasgow.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Manila and Lyon.
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 oboe 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 Bobby Sherman to the funk 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 Dennis Brown. All the underground hits.
All Essential Logic tracks. I heard you have a vinyl of every Gong record on German import.
I heard that you have a white label of every seminal jazz 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 guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Angry Samoans,
Electric Light Orchestra,
Toni Rubio,
Johnny Clarke,
Underground Resistance,
CMW,
Kayak,
Roy Ayers Ubiquity,
Super Lover Cee & Casanova Rud,
Bobby Womack,
Big Daddy Kane,
Urselle,
Richard Hell and the Voidoids,
The West Coast Pop Art Experimental Band,
Amon Düül II,
Pet Shop Boys,
Traffic Nightmare,
Aural Exciters,
Brand Nubian,
The Walker Brothers,
Kurtis Blow,
Stereo Dub,
Kerrie Biddell,
Pussy Galore,
Godley & Creme,
KRS-One,
Kauko Röyhkä ja Narttu,
Quadrant,
MDC,
The Slackers,
The Gap Band,
Patti Smith,
Lyres,
The Detroit Cobras,
Shoche,
The Move,
Rowland S Howard / Lydia Lunch,
The Happenings,
Yellowson,
Clear Light,
Nik Kershaw,
The Stooges,
Colin Newman,
Erasure,
Tommy Roe,
Dead Boys,
Gil Scott Heron,
X-101,
Eric Dolphy,
Alton Ellis,
Bobby Sherman,
Zero Boys,
Kool Moe Dee,
The Doobie Brothers,
Rotary Connection,
The Five Americans,
Bang On A Can,
The Mighty Diamonds,
The Electric Prunes,
Wighnomy Brothers & Robag Wruhme,
X-102,
Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band.
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.