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 Mali and from Jakarta.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1964 to 1976.
I'm losing my edge.
To all the kids in Portland and London.
I'm losing my edge to the art-school Edmonton 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 organ 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 La Düsseldorf to the grunge kids.
I played it at the Spitz.
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 DJ Sneak. All the underground hits.
All Joey Negro tracks. I heard you have a vinyl of every The Doors record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nik Kershaw,
Barclay James Harvest,
Graham Central Station,
Negative Approach,
Ultravox,
Q65,
MDC,
Sandy B,
Lizzy Mercier Descloux,
Inner City,
Grey Daturas,
Big Daddy Kane,
Gabor Szabo,
Neu!,
Gang Starr,
Morten Harket,
B.T. Express,
The Electric Prunes,
Tropical Tobacco,
Aaron Thompson,
Anakelly,
Eric B and Rakim,
Jeff Lynne,
Yazoo,
Pagans,
Jacques Brel,
Angels of Light & Akron/Family,
Massinfluence,
Stetsasonic,
David Bowie,
Prince Buster,
Gang Gang Dance,
John Foxx,
Super Lover Cee & Casanova Rud,
Marine Girls,
Patti Smith,
Crime,
Visage,
Moss Icon,
Animal Collective,
Isaac Hayes,
T. Rex,
Cabaret Voltaire,
Eli Mardock,
Mars,
Kurtis Blow,
Crispy Ambulance,
Mark Hollis,
The J.B.'s,
Gregory Isaacs,
Louis and Bebe Barron,
Smog,
Lucky Dragons,
The Cure,
Kas Product,
The Modern Lovers,
Talk Talk,
Motorama,
Cal Tjader,
Slick Rick,
The Mighty Diamonds,
Bill Wells,
Saccharine Trust,
Lou Reed & John Cale,
The Last Poets, The Last Poets, The Last Poets, The Last Poets.
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.