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 Romania and from Lille.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1971.
I'm losing my edge.
To all the kids in Mexico City and Bremen.
I'm losing my edge to the art-school Manila 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 Throbbing Gristle practice in a loft in London.
I was working on the rhodes 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 Ultravox to the techno 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 Danielle Patucci. All the underground hits.
All The Dead C tracks. I heard you have a vinyl of every Scan 7 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 '80s cut and another box set from the '90s.
I hear you're buying a 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Selecter record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Men They Couldn't Hang,
Heavy D & The Boyz,
Bobby Byrd,
Stiv Bators,
Aural Exciters,
Matthew Halsall,
The Martian,
Richard Hell and the Voidoids,
the Soft Cell,
Lakeside,
Agitation Free,
The Misunderstood,
The Move,
Cal Tjader,
R.M.O.,
Gil Scott-Heron & Brian Jackson,
Make Up,
Josef K,
Funkadelic,
The West Coast Pop Art Experimental Band,
Robert Görl,
Quantec,
Ludus,
OOIOO,
New Age Steppers,
Angels of Light & Akron/Family,
Brand Nubian,
Arcadia,
Soft Machine,
Rotary Connection,
Subhumans,
Howard Jones,
Chris & Cosey,
Lou Reed,
Agent Orange,
Essential Logic,
Ronnie Foster,
Idris Muhammad,
Arab on Radar,
Glambeats Corp.,
Super Lover Cee & Casanova Rud,
the Slits,
MDC,
Lou Reed & John Cale,
Jimmy McGriff,
Accadde A,
Radiohead,
John Coltrane,
Gang Starr,
Index,
Red Lorry Yellow Lorry,
Nick Fraelich,
Monolake,
Swell Maps,
Oblivians,
Underground Resistance,
Notorious Big And Bone Thugs,
X-101,
Barrington Levy,
The Selecter,
Sunsets and Hearts,
Franke,
The Gun Club, The Gun Club, The Gun Club, The Gun Club.
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.