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 Finland and from Spokane.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Tehran and Cairo.
I'm losing my edge to the art-school Johannesburg 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 chamberlin 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 Pantaleimon to the jazz 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 Electric Light Orchestra. All the underground hits.
All Blake Baxter tracks. I heard you have a vinyl of every The Move 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 '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Warren Ellis record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roxette,
Sex Pistols,
Scion,
Black Sheep,
This Heat,
Frankie Knuckles,
Electric Prunes,
Bronski Beat,
Rapeman,
K-Klass,
Blancmange,
Kas Product,
Marc Almond,
Sällskapet,
David Axelrod,
Fad Gadget,
The Doobie Brothers,
Banda Bassotti,
Alton Ellis,
Thinking Fellers Union Local 282,
Erasure,
X-Ray Spex,
Albert Ayler,
Soul Sonic Force,
Suicide,
Lindisfarne,
Guru Guru,
Minor Threat,
Au Pairs,
Judy Mowatt,
The Standells,
Sun City Girls,
Tommy Roe,
Rotary Connection,
Wally Richardson,
The Walker Brothers,
Livin' Joy,
MDC,
Y Pants,
Barclay James Harvest,
Eyeless In Gaza,
Public Enemy,
The Sonics,
Accadde A,
Mo-Dettes,
Andrew Ashong & Theo Parrish,
Little Man,
Nirvana,
One Last Wish,
David McCallum,
Gary Puckett & The Union Gap,
Stockholm Monsters,
Neu!,
Spoonie Gee,
Camron Feat. Jay Z And Juelz,
Sixth Finger,
The Slackers,
The Slits,
Kurtis Blow,
Dark Day,
The Neon Judgement,
Rhythm & Sound,
The Busters, The Busters, The Busters, The Busters.
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.