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 Guatemala and from Seoul.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Salvador and Winnipeg.
I'm losing my edge to the art-school Stockholm 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 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 Spandau Ballet to the funk kids.
I played it at the Roxy.
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 Mojo Men. All the underground hits.
All The Victims tracks. I heard you have a vinyl of every Siouxsie and the Banshees 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 '70s cut and another box set from the '80s.
I hear you're buying an organ and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Teenage Jesus and the Jerks record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
EPMD,
The Litter,
Black Moon,
The Move,
Rotary Connection,
Notorious BIG live in Amsterdam,
Model 500,
Heaven 17,
Marc Romboy vs. Booka Shade,
Quando Quango,
The New Christs,
The Fall,
The Chocolate Watch Band,
Shuggie Otis,
Magazine,
John Foxx,
John Cale,
Alice Coltrane,
Anakelly,
Aswad,
Guru Guru,
Tres Demented,
Siglo XX,
Yellowson,
The Knickerbockers,
Derrick May,
Interpol,
Tomorrow,
Ponytail,
The Dirtbombs,
Bang on a Can All-Stars,
Arab on Radar,
Bluetip,
Pharaoh Sanders and the Fire Engines,
Sexual Harrassment,
London Community Gospel Choir,
Infiniti,
Country Joe & The Fish,
Metal Thangz,
Rites of Spring,
Moss Icon,
Los Fastidios,
Lalann,
The Residents,
Archie Shepp,
The Cramps,
Sun Ra Arkestra,
Surgeon,
David Axelrod,
Ohio Players,
The Golliwogs,
Donald Byrd,
Bill Wells,
the Slits,
Ice-T,
Pole,
Mandrill,
The Royal Family And The Poor,
Lakeside,
Lou Christie,
Mad Mike,
Al Stewart,
Joyce Sims, Joyce Sims, Joyce Sims, Joyce Sims.
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.