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 Guinea and from Lyon.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Spokane and Calgary.
I'm losing my edge to the art-school Shanghai 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 guitar sounds with much patience.
I was there when David Bowie 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 Khruangbin to the funk 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 X-101. All the underground hits.
All Tommy Roe tracks. I heard you have a vinyl of every Radiohead 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 '80s cut and another box set from the '70s.
I hear you're buying a guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Max Romeo record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Barracudas,
The Star Department,
Mark Hollis,
the Bar-Kays,
cv313,
Rapeman,
Quando Quango,
Robert Görl,
Eric Dolphy,
Dorothy Ashby,
Crispy Ambulance,
Suburban Knight,
Laurel Aitken,
Nas,
Stiv Bators,
Harmonia,
Cluster,
Los Fastidios,
Barbara Tucker,
Rhythm & Sound,
Roxy Music,
R.M.O.,
Echospace,
Andrew Ashong & Theo Parrish,
Franke,
Jeff Lynne,
Gary Puckett & The Union Gap,
Danielle Patucci,
Hashim,
The Toasters,
The Leaves,
Adolescents,
Tom Boy,
Nirvana,
Funkadelic,
Bootsy Collins,
Kauko Röyhkä ja Narttu,
Ultra Naté,
Radio Birdman,
Malaria!,
Brand Nubian,
Eurythmics,
Newcleus,
Hasil Adkins,
Oppenheimer Analysis,
Anakelly,
Beasts of Bourbon,
The Slackers,
New Age Steppers,
Monolake,
Faust,
The Wake,
Soul Sonic Force,
Sun Ra Arkestra,
The Gap Band,
Joe Smooth,
Roy Ayers,
Bobby Hutcherson,
Bronski Beat,
Japan, Japan, Japan, Japan.
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.