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 Norway and from Jakarta.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Lyon.
I'm losing my edge to the art-school Beijing 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 marimba sounds with much patience.
I was there when Lou Reed 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 Star Department to the jazz kids.
I played it at the 40 Watt.
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 Gil Scott-Heron and Jamie xx. All the underground hits.
All Howard Jones tracks. I heard you have a vinyl of every A Certain Ratio record on German import.
I heard that you have a white label of every seminal electroclash 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 chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Visage record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bizarre Inc.,
The Remains,
Major Organ And The Adding Machine,
Rufus Thomas,
Buzzcocks,
Magazine,
Traffic Nightmare,
Blancmange,
The Walker Brothers,
Ornette Coleman,
Zapp,
Grey Daturas,
the Sonics,
The Monochrome Set,
Lower 48,
Tim Buckley,
Black Pus,
Sällskapet,
Ken Boothe,
Prince Buster,
Eli Mardock,
Connie Case,
Orchestral Manoeuvres in the Dark,
Jesper Dahlbäck,
The Index,
Banda Bassotti,
The Offenders,
Nas,
OOIOO,
48th St. Collective,
Toni Rubio,
Boredoms,
Deadbeat,
Eric Dolphy,
Scratch Acid,
Marine Girls,
Intrusion,
Spandau Ballet,
Tubeway Army,
Rod Modell,
Talk Talk,
Roger Hodgson,
Soul Sonic Force,
T. Rex,
Crash Course in Science,
Howard Jones,
Wire,
Ultramagnetic MC's,
Oblivians,
Robert Hood,
World's Most,
Bootsy Collins,
The Fall,
Cybotron,
Avey Tare & Kría Brekkan,
Girls At Our Best!,
Scrapy,
The Standells,
Ronnie Foster,
Goldenarms,
The Beau Brummels,
Audionom, Audionom, Audionom, Audionom.
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.