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 New Zealand and from Salvador.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1975.
I'm losing my edge.
To all the kids in Toronto and Johannesburg.
I'm losing my edge to the art-school Accra 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 sitar 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 Tears for Fears to the grime kids.
I played it at Trash.
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 Fat Boys. All the underground hits.
All Minutemen tracks. I heard you have a vinyl of every Camron Feat. Memphis Bleek And Beenie Seigel 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 '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a DJ Style record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
E-Dancer,
Smog,
Andrew Ashong & Theo Parrish,
T.S.O.L.,
Severed Heads,
Monolake,
Vladislav Delay,
The Count Five,
La Düsseldorf,
Kaleidoscope,
Masters at Work,
Flamin' Groovies,
Funkadelic,
Peter Gordon & Love of Life Orchestra,
Altered Images,
Au Pairs,
The United States of America,
B.T. Express,
Radiopuhelimet,
the Fania All-Stars,
Sugar Minott,
Ossler,
Q and Not U,
The Pretty Things,
Eddi Front,
Soft Cell,
Arcadia,
Visionaries,LMNO, T- Love & Iriscience,
X-Ray Spex,
Deutsch Amerikanische Freundschaft,
Reuben Wilson,
Gary Puckett & The Union Gap,
Mark Hollis,
Bad Manners,
A Certain Ratio,
Siglo XX,
Country Teasers,
Yaz,
Kevin Saunderson,
Warsaw,
Ajijia Myrayebe,
Schoolly D,
Iggy Pop,
Cybotron,
Alphaville,
The Doobie Brothers,
Max Romeo,
Delta 5,
The Cosmic Jokers,
the Human League,
Hardrive,
Nik Kershaw,
Tim Buckley,
Gian Franco Pienzio,
Wolf Eyes,
The Fugs,
Simply Red,
Marc Romboy vs. Booka Shade,
Radiohead,
Section 25, Section 25, Section 25, Section 25.
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.