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 Belarus and from Manchester.
But I was there.
I was there in 1978.
I was there at the first Visage show in 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 1962 to 1970.
I'm losing my edge.
To all the kids in Portland and Spokane.
I'm losing my edge to the art-school Mumbai 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the theremin 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 Freddie Wadling to the punk kids.
I played it at the Crocodile.
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 Juan Atkins. All the underground hits.
All X-102 tracks. I heard you have a vinyl of every Urselle 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 '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Buzzcocks record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Ronnie Foster,
Loose Ends,
Roger Hodgson,
Rakim,
The Seeds,
Masters at Work,
the Normal,
Graham Central Station,
Bill Near,
In Retrospect,
The Moleskins,
the Soft Cell,
Anthony Braxton,
Scrapy,
Marc Almond,
Kayak,
Mark Hollis,
the Swans,
Pagans,
The Peanut Butter Conspiracy,
Orchestral Manoeuvres in the Dark,
The New Christs,
Sun Ra Arkestra,
The Invisible,
Jeff Mills,
Kool G Rap & DJ Polo,
Audionom,
Byron Stingily,
Bang On A Can,
Al Stewart,
Charles Mingus,
David Bowie,
Jawbox,
Joensuu 1685,
Kenny Larkin,
The Knickerbockers,
Roxette,
Barclay James Harvest,
Joe Smooth,
L. Decosne,
FM Einheit,
Rekid,
Grandmaster Flash,
Howard Jones,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Young Rascals,
Arab on Radar,
Manfred Mann's Earth Band,
Whodini,
Terror Squad Feat. Camron,
Bobby Womack,
Cameo,
Soft Machine,
Cybotron,
Pharoah Sanders,
ABBA,
Barbara Tucker,
Hot Snakes,
Kevin Saunderson,
Brick,
Crash Course in Science, Crash Course in Science, Crash Course in Science, Crash Course in Science.
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.