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 Turkmenistan and from Calgary.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Halifax and Lagos.
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 1978 at the first Visage practice in a loft in London.
I was working on the arpeggiator 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 Sugar Minott to the grunge kids.
I played it at CBGB's.
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 Symarip. All the underground hits.
All Lalo Schifrin tracks. I heard you have a vinyl of every Toni Rubio record on German import.
I heard that you have a white label of every seminal dance 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 theremin and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alice Coltrane,
The Cramps,
Rekid,
Notorious BIG live in Amsterdam,
Cecil Taylor,
The Doors,
Average White Band,
Tres Demented,
Oneida,
Althea and Donna,
Anakelly,
Matthew Bourne,
The Dead C,
Minor Threat,
Duran Duran,
Joensuu 1685,
The J.B.'s,
Icehouse,
Wings,
Agitation Free,
Joy Division,
Hoover,
Cymande,
Max Romeo,
Camron Feat. Memphis Bleek And Beenie Seigel,
David Axelrod,
Kauko Röyhkä ja Narttu,
the Slits,
Harmonia,
Cal Tjader,
The Litter,
Jacob Miller,
Harpers Bizarre,
The Angels of Light,
a-ha,
Second Layer,
Livin' Joy,
Sly & The Family Stone,
Connie Case,
Jawbox,
Nation of Ulysses,
The Durutti Column,
Jeru the Damaja,
Buzzcocks,
Piero Umiliani,
Yaz,
Spoonie Gee,
Larry & the Blue Notes,
Terrestrial Tones,
Blancmange,
Anthony Braxton,
the Human League,
Howard Jones,
Magma,
T.S.O.L.,
Erasure,
Lalo Schifrin,
Dual Sessions,
Scan 7,
The Martian, The Martian, The Martian, The Martian.
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.