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 Gambia and from Salvador.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1970.
I'm losing my edge.
To all the kids in Toronto and Stockholm.
I'm losing my edge to the art-school Delhi 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 arpeggiator 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 Henry Cow to the rap 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 L. Decosne. All the underground hits.
All Moss Icon tracks. I heard you have a vinyl of every Zapp record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Isaac Hayes 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?
Cheater Slicks,
a-ha,
Bronski Beat,
Sight & Sound,
Skaos,
Stereo Dub,
Fad Gadget,
Ronan,
Danielle Patucci,
The Gladiators,
Rotary Connection,
Bad Manners,
Super Lover Cee & Casanova Rud,
Main Source,
Scott Walker + Sunn O))),
The Black Dice,
The Walker Brothers,
Robert Görl,
The Men They Couldn't Hang,
Moebius,
Absolute Body Control,
The Sisters of Mercy,
Minnie Riperton,
The Vogues,
Rosa Yemen,
The Angels of Light,
Byron Stingily,
Minny Pops,
The Smoke,
the Germs,
Brass Construction,
Mad Mike,
Heaven 17,
Black Pus,
Throbbing Gristle,
Jacob Miller,
Chrome,
Sound Behaviour,
Lindisfarne,
The Doobie Brothers,
Eyeless In Gaza,
Gabor Szabo,
The Searchers,
Visage,
Junior Murvin,
Hoover,
Spoonie Gee,
Electric Prunes,
Can,
Angry Samoans,
Nico,
the Fania All-Stars,
Davy DMX,
Radiopuhelimet,
The Mummies,
L. Decosne,
The Saints,
Kerrie Biddell,
The Last Poets,
Marshall Jefferson, Marshall Jefferson, Marshall Jefferson, Marshall Jefferson.
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.