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 Germany and from Copenhagen.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Delhi and Taipei.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the guitar 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 Ice-T to the electroclash kids.
I played it at the Roxy.
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 Gerry Rafferty. All the underground hits.
All Echo & the Bunnymen tracks. I heard you have a vinyl of every Con Funk Shun record on German import.
I heard that you have a white label of every seminal grime 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 harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Crooked Eye record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dorothy Ashby,
The Gladiators,
Arab on Radar,
Richard Hell and the Voidoids,
The Leaves,
Mo-Dettes,
Minny Pops,
Reuben Wilson,
Echospace,
Cabaret Voltaire,
The Alarm Clocks,
Livin' Joy,
Rosa Yemen,
Amon Düül,
Erasure,
Mars,
David Axelrod,
T.S.O.L.,
Rahsaan Roland Kirk,
The Associates,
Yusef Lateef,
Lizzy Mercier Descloux,
Eric Dolphy,
Hasil Adkins,
Bill Wells,
Ultra Naté,
Sandy B,
Avey Tare,
Aaron Thompson,
Janne Schatter,
Brass Construction,
Bobby Womack,
Neil Young & Crazy Horse,
Matthew Halsall,
Fluxion,
The Toasters,
Intrusion,
Tears for Fears,
Stockholm Monsters,
Yazoo,
The Doobie Brothers,
Gary Puckett & The Union Gap,
Dave Gahan,
Joe Finger,
Whodini,
Radio Birdman,
Rakim,
The Index,
Lou Christie,
Kauko Röyhkä ja Narttu,
Kevin Saunderson,
Surgeon,
Khruangbin,
Gil Scott-Heron & Brian Jackson,
Zapp,
Barry Ungar,
Siglo XX,
a-ha,
Spoonie Gee,
X-Ray Spex,
Animal Collective,
The Mojo Men,
the Soft Cell,
The Divine Comedy, The Divine Comedy, The Divine Comedy, The Divine Comedy.
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.