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 Samoa and from London.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Halifax and Delhi.
I'm losing my edge to the art-school Johannesburg 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 synthesizer 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 Mandrill to the jazz kids.
I played it at the Roxy.
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 Trojans. All the underground hits.
All Notorious Big And Bone Thugs tracks. I heard you have a vinyl of every Jacob Miller record on German import.
I heard that you have a white label of every seminal disco 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 güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sunsets and Hearts,
Rowland S Howard / Lydia Lunch,
Michelle Simonal,
Youth Brigade,
Maleditus Sound,
Thompson Twins,
Teenage Jesus and the Jerks,
Duran Duran,
UT,
Lou Reed,
Dr. Dre and Snoop Doggy Dog,
Babytalk,
MC5,
Skaos,
Funkadelic,
Loose Ends,
Arcadia,
Amon Düül,
Bronski Beat,
Liaisons Dangereuses,
Kevin Saunderson,
the Slits,
Nils Olav,
Eddi Front,
Quando Quango,
Sister Nancy,
Röyhkä ja Rättö ja Lehtisalo,
Pere Ubu,
Flash Fearless,
Junior Murvin,
Ponytail,
Electric Light Orchestra,
Cluster,
Siouxsie and the Banshees,
Wire,
Lee Hazlewood,
Juan Atkins,
Pierre Henry,
Eyeless In Gaza,
Avey Tare & Kría Brekkan,
Dead Boys,
Camron Feat. Memphis Bleek And Beenie Seigel,
Rhythim Is Rhythim,
E-Dancer,
Gong,
Tommy Roe,
Major Organ And The Adding Machine,
Harpers Bizarre,
Au Pairs,
Ohio Players,
The Evens,
The Litter,
the Association,
Q and Not U,
Colin Newman,
The Sound,
Graham Central Station,
Ten City,
Vladislav Delay,
Rotary Connection,
The Remains,
Piero Umiliani, Piero Umiliani, Piero Umiliani, Piero Umiliani.
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.