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 Palau and from Sao Paulo.
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 1967 to 1977.
I'm losing my edge.
To all the kids in New York and Bologna.
I'm losing my edge to the art-school Tokyo 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the güiro 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 Massinfluence to the techno 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 Joe Smooth. All the underground hits.
All The Knickerbockers tracks. I heard you have a vinyl of every The Wake record on German import.
I heard that you have a white label of every seminal rap 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 spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Nas record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Josef K,
Aural Exciters,
Kango’s Stein Massive,
Prince Buster,
Metal Thangz,
Eric B and Rakim,
Pylon,
Country Teasers,
The Pretty Things,
Red Lorry Yellow Lorry,
Ornette Coleman,
Jeff Mills,
Gang Green,
Tom Boy,
Television Personalities,
Fort Wilson Riot,
The Kinks,
Pharaoh Sanders and the Fire Engines,
Joe Smooth,
Excepter,
Ossler,
Fear,
Connie Case,
48th St. Collective,
Saccharine Trust,
Yellowson,
the Soft Cell,
Moebius,
The Slackers,
Jimmy McGriff,
Avey Tare's Slasher Flicks,
Dennis Brown,
Massinfluence,
Outsiders,
Nik Kershaw,
Big Daddy Kane,
Marmalade,
Mark Hollis,
The Beau Brummels,
The Count Five,
Hashim,
Fifty Foot Hose,
Von Mondo,
The Monks,
The Human League,
Notorious BIG live in Amsterdam,
Magazine,
Make Up,
MDC,
The Zeros,
Derrick Morgan,
Sad Lovers and Giants,
The Raincoats,
Kings Of Tomorrow,
Franke,
The Electric Prunes,
Crooked Eye,
The Young Rascals,
Fat Boys,
Henry Cow,
Electric Light Orchestra,
Archie Shepp,
Scion, Scion, Scion, Scion.
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.