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 Korea North and from Seoul.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Toronto and Lagos.
I'm losing my edge to the art-school Winnipeg 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 1984 at the first Arcadia practice in a loft in London.
I was working on the sitar 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 Visage to the jazz 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 Marmalade. All the underground hits.
All The Fire Engines tracks. I heard you have a vinyl of every The Slackers 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 '50s cut and another box set from the '90s.
I hear you're buying a mellotron and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Kerrie Biddell record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Judy Mowatt,
Cecil Taylor,
Second Layer,
Hoover,
Pole,
Delon & Dalcan,
Roy Ayers,
The Seeds,
Kas Product,
T.S.O.L.,
The Trojans,
Traffic Nightmare,
Crime,
ABBA,
Amon Düül II,
Fort Wilson Riot,
Glenn Branca,
Marc Almond,
Graham Central Station,
Terrestrial Tones,
The Busters,
A Certain Ratio,
Amon Düül,
Metal Thangz,
Stockholm Monsters,
Supertramp,
Warsaw,
Goldenarms,
Section 25,
Johnny Osbourne,
Oneida,
Tres Demented,
Das Ding,
Bobby Sherman,
the Germs,
The Raincoats,
Kings Of Tomorrow,
Anakelly,
Boredoms,
Derrick May,
Agent Orange,
Eric Copeland,
Vainqueur,
John Coltrane,
Sun Ra,
Black Moon,
Prince Buster,
Lakeside,
Curtis Mayfield,
The Dave Clark Five,
Kango’s Stein Massive,
Letta Mbulu,
Angels of Light & Akron/Family,
Dark Day,
Mantronix,
The Birthday Party,
Alton Ellis,
8 Eyed Spy,
Charles Mingus,
Sarah Menescal,
Chris & Cosey, Chris & Cosey, Chris & Cosey, Chris & Cosey.
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.