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 Tanzania and from Sao Paulo.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Accra and Jakarta.
I'm losing my edge to the art-school Houston 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the marimba sounds with much patience.
I was there when Tom Verlaine 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 Youth Brigade to the electroclash kids.
I played it at the Hacienda.
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 Josef K. All the underground hits.
All Dorothy Ashby tracks. I heard you have a vinyl of every The Flesh Eaters record on German import.
I heard that you have a white label of every seminal funk 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 spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Eric Dolphy record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gerry Rafferty,
Deakin,
Popol Vuh,
Nas,
The Victims,
Subhumans,
Mo-Dettes,
Scan 7,
kango's stein massive,
Siglo XX,
Funkadelic,
Eve St. Jones,
Heaven 17,
E-Dancer,
Todd Rundgren,
Arab on Radar,
Niagra,
Electric Prunes,
Scratch Acid,
Stereo Dub,
Lee Hazlewood,
Thompson Twins,
The Beau Brummels,
Kings Of Tomorrow,
Boz Scaggs,
B.T. Express,
MDC,
Gang of Four,
Lungfish,
Urselle,
Gil Scott-Heron and Jamie xx,
Lou Christie,
Rhythim Is Rhythim,
Ossler,
Erasure,
Cybotron,
Ponytail,
Neu!,
Barrington Levy,
Eddi Front,
Easy Going,
The American Breed,
Judy Mowatt,
John Lydon,
Camron Feat. Memphis Bleek And Beenie Seigel,
Pussy Galore,
Public Enemy,
Marcia Griffiths,
Kauko Röyhkä ja Narttu,
Flamin' Groovies,
Mary Jane Girls,
Pulsallama,
Zapp,
Oppenheimer Analysis,
Liliput,
Scrapy,
Public Image Ltd.,
Kerri Chandler,
One Last Wish,
Sällskapet,
Howard Jones, Howard Jones, Howard Jones, Howard Jones.
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.