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 Singapore and from Salvador.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Beijing and Salvador.
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 snare 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 Trojans to the grime kids.
I played it at the 40 Watt.
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 Glenn Branca. All the underground hits.
All Pantaleimon tracks. I heard you have a vinyl of every Godley & Creme 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 '50s cut and another box set from the '90s.
I hear you're buying a linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fort Wilson Riot,
Marc Almond,
Groovy Waters,
A Certain Ratio,
DNA,
Hasil Adkins,
The Kinks,
Charles Mingus,
Gil Scott-Heron & Brian Jackson,
The Stooges,
Dark Day,
Rhythim Is Rhythim,
Echo & the Bunnymen,
Bobby Hutcherson,
Masters at Work,
Justin Hinds & The Dominoes,
Slave,
the Sonics,
Cluster,
The Blackbyrds,
Agitation Free,
Gil Scott-Heron and Jamie xx,
B.T. Express,
The Neon Judgement,
Lalo Schifrin,
Pet Shop Boys,
Can,
Hot Snakes,
Inner City,
Public Image Ltd.,
Pulsallama,
It's A Beautiful Day,
Newcleus,
The Happenings,
Vaughan Mason & Crew,
Rites of Spring,
Liaisons Dangereuses,
Blancmange,
Adolescents,
The Royal Family And The Poor,
Eli Mardock,
Grandmaster Flash and the Furious Five,
The Gap Band,
Fluxion,
Thompson Twins,
Roy Ayers,
The Motions,
The Move,
Brass Construction,
Funkadelic,
Parry Music,
Talk Talk,
Unwound,
Electric Prunes,
Easy Going,
The Star Department,
The Misunderstood,
Bootsy's Rubber Band,
The Gladiators,
Gian Franco Pienzio,
Quadrant,
The Cramps, The Cramps, The Cramps, The Cramps.
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.