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 Vietnam and from Spokane.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1971.
I'm losing my edge.
To all the kids in Lyon and Seoul.
I'm losing my edge to the art-school Mumbai 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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 Brothers Johnson to the punk kids.
I played it at Cafe Wha.
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 Warsaw. All the underground hits.
All Electric Prunes tracks. I heard you have a vinyl of every Eyeless In Gaza 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 '80s cut and another box set from the '70s.
I hear you're buying a snare and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a John Lydon 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?
Michelle Simonal,
Interpol,
Darondo,
Marc Almond,
James Chance & The Contortions,
the Soft Cell,
Pagans,
Simply Red,
The Motions,
Soul II Soul,
The Music Machine,
The Gladiators,
AZ,
MC5,
Sandy B,
Tubeway Army,
Judy Mowatt,
The Pop Group,
The Knickerbockers,
Black Pus,
Saccharine Trust,
David Axelrod,
Laurel Aitken,
The Electric Prunes,
Roy Ayers Ubiquity,
The Cosmic Jokers,
Average White Band,
Camron Feat. Jay Z And Juelz,
Notorious Big And Bone Thugs,
Albert Ayler,
Rod Modell,
Johnny Osbourne,
Manfred Mann's Earth Band,
Lindisfarne,
The Busters,
Rites of Spring,
The Walker Brothers,
Popol Vuh,
Deepchord,
Vladislav Delay,
Nick Fraelich,
Sugar Minott,
Alison Limerick,
Ice-T,
Surgeon,
Make Up,
Lucky Dragons,
Cluster,
Wasted Youth,
The Dead C,
The Skatalites,
Adolescents,
The Leaves,
Alice Coltrane,
Derrick Morgan,
Harmonia,
Ajijia Myrayebe,
Maleditus Sound,
Supertramp,
UT, UT, UT, UT.
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.