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 Sweden and from Columbus.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Delhi and Glasgow.
I'm losing my edge to the art-school Salvador 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 harpsichord 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 Saints to the techno kids.
I played it at the Spitz.
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 The Count Five. All the underground hits.
All Alison Limerick tracks. I heard you have a vinyl of every Eve St. Jones record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Prince Buster record.
I hear that you and your band have sold your snare and bought a theremin.
I hear that you and your band have sold your theremin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Visage,
48th St. Collective,
Roxy Music,
Stetsasonic,
Don Cherry,
Jerry's Kids,
Negative Approach,
The Kinks,
Rhythm & Sound,
The Alarm Clocks,
Nik Kershaw,
Mo-Dettes,
Rekid,
Young Marble Giants,
cv313,
This Heat,
London Community Gospel Choir,
The Cowsills,
Sun Ra Arkestra,
Basic Channel,
Neil Young & Crazy Horse,
Minutemen,
Shoche,
The Knickerbockers,
Mantronix,
The Dave Clark Five,
Thinking Fellers Union Local 282,
The Mummies,
Pussy Galore,
Radiopuhelimet,
It's A Beautiful Day,
The Modern Lovers,
Brand Nubian,
The United States of America,
Tropical Tobacco,
Bootsy's Rubber Band,
David McCallum,
The Music Machine,
The Dirtbombs,
Monolake,
Rufus Thomas,
Agitation Free,
Gregory Isaacs,
Grandmaster Flash and the Furious Five,
Siouxsie and the Banshees,
Average White Band,
Bang On A Can,
The Shadows of Knight,
Piero Umiliani,
Dorothy Ashby,
Bootsy Collins,
Ajijia Myrayebe,
Reuben Wilson,
Kauko Röyhkä ja Narttu,
Cymande,
Boogie Down Productions,
The J.B.'s,
Von Mondo,
Ten City, Ten City, Ten City, Ten City.
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.