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 Nepal and from Lille.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Lagos and Hong Kong.
I'm losing my edge to the art-school Jakarta 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the chamberlin 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 The Moleskins to the grime kids.
I played it at Trash.
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 Soulsonic Force. All the underground hits.
All Roxette tracks. I heard you have a vinyl of every Cal Tjader record on German import.
I heard that you have a white label of every seminal grime 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 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Blancmange record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sexual Harrassment,
Liliput,
Sunsets and Hearts,
Joyce Sims,
Red Lorry Yellow Lorry,
Average White Band,
Soft Machine,
Scratch Acid,
The Royal Family And The Poor,
Kerrie Biddell,
Aswad,
DJ Style,
The Modern Lovers,
In Retrospect,
Big Daddy Kane,
New York Dolls,
Hardrive,
Gil Scott-Heron and Jamie xx,
John Foxx,
The Alarm Clocks,
Traffic Nightmare,
Derrick Morgan,
Peter & Gordon,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Eric Copeland,
The Stooges,
Harry Pussy,
Todd Rundgren,
The Motions,
Eric B and Rakim,
PIL,
Aaron Thompson,
Donny Hathaway,
Sight & Sound,
Dave Gahan,
The Cosmic Jokers,
Sparks,
Robert Görl,
Symarip,
Marc Almond,
Von Mondo,
The Red Krayola,
Rahsaan Roland Kirk,
Easy Going,
F. McDonald,
The Misunderstood,
Television,
Janne Schatter,
Judy Mowatt,
Roxy Music,
Charles Mingus,
Archie Shepp,
John Lydon,
Harmonia,
Country Joe & The Fish,
The Men They Couldn't Hang,
Blake Baxter,
Vainqueur,
Electric Light Orchestra,
The Monochrome Set,
The Wake,
Crash Course in Science,
Black Sheep, Black Sheep, Black Sheep, Black Sheep.
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.