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 Andorra and from Mexico City.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Glasgow and New York.
I'm losing my edge to the art-school Edmonton 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 organ 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 Pantytec to the dance kids.
I played it at the Hacienda.
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 Fire Engines. All the underground hits.
All Mission of Burma tracks. I heard you have a vinyl of every James Chance & The Contortions record on German import.
I heard that you have a white label of every seminal electroclash 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 mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Icehouse record.
I hear that you and your band have sold your snare and bought a marimba.
I hear that you and your band have sold your marimba and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
cv313,
Justin Hinds & The Dominoes,
The Alarm Clocks,
T.S.O.L.,
Sonny Sharrock,
Dual Sessions,
Crispian St. Peters,
Smog,
Sad Lovers and Giants,
CMW,
Neu!,
Loose Ends,
The Smoke,
Vladislav Delay,
Sun Ra,
Mad Mike,
Lebanon Hanover,
Basic Channel,
Barclay James Harvest,
Ralphi Rosario,
The Sonics,
The Gladiators,
Au Pairs,
Jawbox,
Morten Harket,
The Tremeloes,
James Chance & The Contortions,
The Walker Brothers,
Nico,
Pet Shop Boys,
X-101,
New Order,
Essential Logic,
Spandau Ballet,
The United States of America,
Red Lorry Yellow Lorry,
Jesper Dahlback,
Bronski Beat,
Cheater Slicks,
Black Bananas,
Josef K,
10cc,
The Doobie Brothers,
Maleditus Sound,
Negative Approach,
Robert Wyatt,
Letta Mbulu,
Yusef Lateef,
Matthew Halsall,
The Evens,
Outsiders,
Pere Ubu,
Pulsallama,
Pete Rock & C.L. Smooth,
Marmalade,
Anthony Braxton,
Fatback Band,
Lonnie Liston Smith,
Cymande,
The Monochrome Set,
The Slits, The Slits, The Slits, The Slits.
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.