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 Slovenia and from Manila.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1967 to 1971.
I'm losing my edge.
To all the kids in Calgary and Bologna.
I'm losing my edge to the art-school London 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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 Derrick Morgan to the punk 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 New Age Steppers. All the underground hits.
All Lyres tracks. I heard you have a vinyl of every Radiohead 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 '70s cut and another box set from the '70s.
I hear you're buying a sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Girls At Our Best! record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash,
Fatback Band,
Blake Baxter,
Deepchord,
Lower 48,
The Doobie Brothers,
Ohio Players,
The Monochrome Set,
Bill Wells,
Moby Grape,
Lonnie Liston Smith,
Basic Channel,
Warsaw,
Bang on a Can All-Stars,
Negative Approach,
Johnny Clarke,
Whodini,
Bang On A Can,
Max Romeo,
Sun City Girls,
Steve Hackett,
London Community Gospel Choir,
Tears for Fears,
Grandmaster Flash and the Furious Five,
Todd Terry,
The United States of America,
the Human League,
Mr. Review,
Röyhkä ja Rättö ja Lehtisalo,
Goldenarms,
The Buckinghams,
The Move,
The Motions,
Scott Walker + Sunn O))),
Man Parrish,
Donald Byrd,
Newcleus,
Maleditus Sound,
Jacques Brel,
Cabaret Voltaire,
Lou Reed & Metallica,
Audionom,
The Detroit Cobras,
Manfred Mann's Earth Band,
Brass Construction,
Crispy Ambulance,
Hasil Adkins,
Television,
X-Ray Spex,
Camberwell Now,
The Count Five,
Boogie Down Productions,
Icehouse,
Curtis Mayfield,
Glambeats Corp.,
Harry Pussy,
The Last Poets,
Urselle,
The Beau Brummels,
Eden Ahbez,
The Vogues,
The Music Machine,
Fear,
Drexciya, Drexciya, Drexciya, Drexciya.
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.