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 El Salvador and from Bologna.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1963 to 1975.
I'm losing my edge.
To all the kids in Copenhagen and Philadelphia.
I'm losing my edge to the art-school Milan 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 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 Toni Rubio to the techno 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 Kerri Chandler. All the underground hits.
All Bizarre Inc. tracks. I heard you have a vinyl of every Unrelated Segments record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Japan record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Excepter,
Marmalade,
X-Ray Spex,
The Count Five,
Cameo,
Thompson Twins,
Deakin,
Pulsallama,
Dark Day,
John Foxx,
Todd Terry,
Sällskapet,
The Busters,
the Germs,
Danielle Patucci,
Alton Ellis,
Gang of Four,
Ultravox,
DNA,
CMW,
Stiv Bators,
Donny Hathaway,
The Star Department,
Sandy B,
Throbbing Gristle,
Babytalk,
Intrusion,
The Dirtbombs,
Patti Smith,
The Leaves,
Marcia Griffiths,
Lizzy Mercier Descloux,
Echo & the Bunnymen,
Country Joe & The Fish,
James White and The Blacks,
Little Man,
The Techniques,
Half Japanese,
Lower 48,
The Golliwogs,
The Walker Brothers,
Urselle,
Supertramp,
Flamin' Groovies,
Second Layer,
Gil Scott-Heron & Brian Jackson,
Soul II Soul,
The Raincoats,
Sight & Sound,
The West Coast Pop Art Experimental Band,
Big Daddy Kane,
Mo-Dettes,
Gerry Rafferty,
Major Organ And The Adding Machine,
The Vogues,
Barclay James Harvest,
The Names,
The Mojo Men,
Donald Byrd,
LL Cool J,
Theoretical Girls,
The Gap Band, The Gap Band, The Gap Band, The Gap Band.
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.