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 Liberia and from Spokane.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Manila and Mexico City.
I'm losing my edge to the art-school Jakarta 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 snare sounds with much patience.
I was there when David Bowie 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 The Electric Prunes to the punk kids.
I played it at the Crocodile.
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 Monolake. All the underground hits.
All Echo & the Bunnymen tracks. I heard you have a vinyl of every Los Fastidios record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Red Lorry Yellow Lorry record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Light Orchestra,
Sugar Minott,
Spandau Ballet,
The Fire Engines,
Grauzone,
The Buckinghams,
Arthur Verocai,
Andrew Hill,
Scrapy,
Notorious BIG live in Amsterdam,
Loose Ends,
Sunsets and Hearts,
Q and Not U,
Eric B and Rakim,
Dr. Dre and Snoop Doggy Dog,
Chris & Cosey,
Half Japanese,
Be Bop Deluxe,
Deadbeat,
A Flock of Seagulls,
the Swans,
Simply Red,
the Slits,
David McCallum,
Kas Product,
Motorama,
Cabaret Voltaire,
Janne Schatter,
Soft Cell,
Cecil Taylor,
Visionaries,LMNO, T- Love & Iriscience,
The Gladiators,
The Electric Prunes,
Siglo XX,
The Techniques,
Aaron Thompson,
Amazonics,
Art Ensemble Of Chicago,
Al Stewart,
Thinking Fellers Union Local 282,
Sun City Girls,
Bluetip,
L. Decosne,
Minnie Riperton,
The Remains,
Pantytec,
Girls At Our Best!,
Joensuu 1685,
Babytalk,
Sun Ra Arkestra,
The Pretty Things,
Kool Moe Dee,
Justin Hinds & The Dominoes,
Alison Limerick,
Bizarre Inc.,
Subhumans,
The Blackbyrds,
In Retrospect,
the Normal,
The Sisters of Mercy,
Oppenheimer Analysis,
Scion,
Bobby Hutcherson, Bobby Hutcherson, Bobby Hutcherson, Bobby Hutcherson.
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.