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 Peru and from Bologna.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Mumbai and Toronto.
I'm losing my edge to the art-school Woodstock 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the linndrum 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 The Gap Band to the punk kids.
I played it at the Crocodile.
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 Fatback Band. All the underground hits.
All Big Daddy Kane tracks. I heard you have a vinyl of every Tomorrow record on German import.
I heard that you have a white label of every seminal crunk 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 a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Five Americans record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacques Brel,
Gang Gang Dance,
A Flock of Seagulls,
Lee Hazlewood,
Interpol,
Donald Byrd,
The Moody Blues,
Country Teasers,
Rufus Thomas,
Super Lover Cee & Casanova Rud,
Don Cherry,
Sad Lovers and Giants,
Brass Construction,
Fad Gadget,
The Standells,
Steve Hackett,
Ornette Coleman,
The Golliwogs,
The Vogues,
Tomorrow,
The Residents,
Notorious Big And Bone Thugs,
Niagra,
Cheater Slicks,
Arab on Radar,
Minny Pops,
Drive Like Jehu,
Nation of Ulysses,
Johnny Osbourne,
Andrew Ashong & Theo Parrish,
Urselle,
Howard Jones,
The Trojans,
The Seeds,
Graham Central Station,
Cecil Taylor,
Harry Pussy,
Arcadia,
Pulsallama,
These Immortal Souls,
The Leaves,
Flipper,
Index,
The Monochrome Set,
Excepter,
Scott Walker + Sunn O))),
Grandmaster Flash,
Absolute Body Control,
Duran Duran,
Black Pus,
The Offenders,
Deepchord,
Pere Ubu,
DJ Style,
Cybotron,
Heaven 17,
Liaisons Dangereuses,
Porter Ricks,
Spandau Ballet,
the Bar-Kays,
The Fall,
Dennis Brown, Dennis Brown, Dennis Brown, Dennis Brown.
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.