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 Yemen and from Salvador.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Halifax and Edmonton.
I'm losing my edge to the art-school Tehran 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 spring reverb 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 Don Cherry to the grime 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 John Lydon. All the underground hits.
All Skarface tracks. I heard you have a vinyl of every Brothers Johnson 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 a linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Sound record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Seeds,
Gerry Rafferty,
Wighnomy Brothers & Robag Wruhme,
Major Organ And The Adding Machine,
Half Japanese,
Oblivians,
Pulsallama,
Ten City,
Grandmaster Flash and the Furious Five,
Slick Rick,
John Coltrane,
The Music Machine,
Eddi Front,
Soul Sonic Force,
Captain Beefheart & His Magic Band,
Ultra Naté,
Laurel Aitken,
Spoonie Gee,
Mark Hollis,
Wolf Eyes,
B.T. Express,
The Slits,
Silicon Teens,
Slave,
The Kinks,
The Fuzztones,
Spandau Ballet,
Absolute Body Control,
The Wake,
Royal Trux,
A Certain Ratio,
Tom Boy,
The Monochrome Set,
Dead Boys,
Sexual Harrassment,
Stiv Bators,
Aloha Tigers,
Sixth Finger,
Dave Gahan,
Tommy Roe,
The Walker Brothers,
Avey Tare's Slasher Flicks,
Darondo,
New Age Steppers,
Red Lorry Yellow Lorry,
Guru Guru,
Lou Reed & John Cale,
Warsaw,
The Cure,
Brand Nubian,
Q65,
Second Layer,
Make Up,
Robert Görl,
Eurythmics,
Rosa Yemen,
The Victims,
Andrew Hill,
Fifty Foot Hose,
Heavy D & The Boyz,
Scrapy,
Brothers Johnson, Brothers Johnson, Brothers Johnson, Brothers Johnson.
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.