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 Burundi and from New York.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1978.
I'm losing my edge.
To all the kids in Mumbai and Houston.
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 1973 at the first Television practice in a loft in New York.
I was working on the organ 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 Echo & the Bunnymen 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 Avey Tare & Kría Brekkan. All the underground hits.
All The Royal Family And The Poor tracks. I heard you have a vinyl of every New Age Steppers record on German import.
I heard that you have a white label of every seminal crunk 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 an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Max Romeo record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nik Kershaw,
The Music Machine,
The Count Five,
The Names,
Anakelly,
Drexciya,
Ralphi Rosario,
Agent Orange,
Quadrant,
Grauzone,
The Pop Group,
Bronski Beat,
Babytalk,
Stereo Dub,
Brothers Johnson,
The Gories,
Gary Puckett & The Union Gap,
Man Parrish,
Röyhkä ja Rättö ja Lehtisalo,
The Happenings,
the Bar-Kays,
Marvin Gaye,
Fort Wilson Riot,
James Chance & The Contortions,
Pere Ubu,
Bad Manners,
Glambeats Corp.,
Black Pus,
The Saints,
Shuggie Otis,
Pantytec,
Talk Talk,
Angry Samoans,
Marc Almond,
Howard Jones,
Lou Reed & Metallica,
Scratch Acid,
Freddie Wadling,
Marshall Jefferson,
Blancmange,
Richard Hell and the Voidoids,
Cameo,
Oppenheimer Analysis,
Desert Stars,
Cymande,
John Lydon,
Ronan,
The Raincoats,
Heaven 17,
The Victims,
Joensuu 1685,
Jeff Mills,
Wighnomy Brothers & Robag Wruhme,
Maurizio,
Amon Düül II,
Jesper Dahlback,
Zapp,
The Cramps,
Ultravox,
Alphaville,
New Age Steppers,
It's A Beautiful Day,
June of 44,
Gang of Four, Gang of Four, Gang of Four, Gang of Four.
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.