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 Costa Rica and from Hong Kong.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Halifax and Delhi.
I'm losing my edge to the art-school Calgary 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the güiro 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 Jesus and Mary Chain to the electroclash kids.
I played it at Trash.
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 Graham Central Station. All the underground hits.
All Harmonia tracks. I heard you have a vinyl of every Essential Logic 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 '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Donald Byrd record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Neon Judgement,
Ten City,
The Misunderstood,
Tears for Fears,
Flash Fearless,
Stiv Bators,
Tubeway Army,
Electric Light Orchestra,
James White and The Blacks,
Porter Ricks,
The Divine Comedy,
10cc,
Sarah Menescal,
Popol Vuh,
Kas Product,
Leonard Cohen,
Traffic Nightmare,
Sad Lovers and Giants,
Loose Ends,
EPMD,
Nirvana,
Godley & Creme,
Surgeon,
The Fugs,
Andrew Hill,
Black Moon,
Barry Ungar,
Lebanon Hanover,
Sugar Minott,
U.S. Maple,
Toni Rubio,
London Community Gospel Choir,
the Sonics,
Lyres,
The Zeros,
Bobby Byrd,
The Five Americans,
Donny Hathaway,
Bizarre Inc.,
Eve St. Jones,
The Human League,
The Moody Blues,
Joensuu 1685,
Lungfish,
Heaven 17,
Aloha Tigers,
Lucky Dragons,
Frankie Knuckles,
Alison Limerick,
Art Ensemble Of Chicago,
Lakeside,
De La Soul & Jungle Brothers,
Gary Puckett & The Union Gap,
Dead Boys,
Little Man,
Harpers Bizarre,
Mo-Dettes,
L. Decosne,
Pere Ubu,
Erasure,
Ice-T,
Fat Boys, Fat Boys, Fat Boys, Fat Boys.
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.