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 Macedonia and from Jakarta.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Copenhagen and Halifax.
I'm losing my edge to the art-school Edmonton 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the synthesizer sounds with much patience.
I was there when Michael McDonald 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 Gil Scott Heron to the techno kids.
I played it at Cafe Wha.
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 Alphaville. All the underground hits.
All X-Ray Spex tracks. I heard you have a vinyl of every In Retrospect record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Electric Prunes record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kas Product,
X-102,
The Dirtbombs,
Cybotron,
Rekid,
Sam Rivers,
Livin' Joy,
Yellowson,
Ornette Coleman,
Pet Shop Boys,
Nils Olav,
Accadde A,
Television Personalities,
Faust,
Amon Düül II,
Gary Puckett & The Union Gap,
The Remains,
Mary Jane Girls,
Chris & Cosey,
Joe Smooth,
Popol Vuh,
CMW,
T.S.O.L.,
Larry & the Blue Notes,
Rapeman,
Ken Boothe,
Severed Heads,
Boz Scaggs,
The Birthday Party,
Thinking Fellers Union Local 282,
Alison Limerick,
Lonnie Liston Smith,
Lakeside,
Soul II Soul,
The Sisters of Mercy,
Scrapy,
Super Lover Cee & Casanova Rud,
Lyres,
Orchestral Manoeuvres in the Dark,
Black Sheep,
Eden Ahbez,
Hashim,
Jerry Gold Smith,
Michelle Simonal,
Soul Sonic Force,
Art Ensemble Of Chicago,
Röyhkä ja Rättö ja Lehtisalo,
The Detroit Cobras,
Marine Girls,
Juan Atkins,
Gil Scott-Heron and Jamie xx,
Make Up,
The Sound,
The Trojans,
Minnie Riperton,
Unwound,
The Doors,
Peter & Gordon,
Ultravox,
Nick Fraelich,
Mad Mike,
The Moleskins, The Moleskins, The Moleskins, The Moleskins.
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.