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 France and from Shanghai.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Jakarta and Madrid.
I'm losing my edge to the art-school Milan 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 rhodes 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 The Monks to the crunk kids.
I played it at the 40 Watt.
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 Pylon. All the underground hits.
All Big Daddy Kane tracks. I heard you have a vinyl of every A Certain Ratio 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 rhodes and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your theremin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharoah Sanders,
David McCallum,
Jacques Brel,
A Certain Ratio,
The Dead C,
Siglo XX,
ABBA,
The Offenders,
Roy Ayers,
The Knickerbockers,
Robert Wyatt,
Alphaville,
Pierre Henry,
Big Daddy Kane,
H. Thieme,
Cecil Taylor,
Eric B and Rakim,
Bluetip,
the Germs,
Section 25,
Japan,
Bang On A Can,
Terrestrial Tones,
Ludus,
Infiniti,
Vaughan Mason & Crew,
PIL,
Subhumans,
The Cosmic Jokers,
Amazonics,
Sugar Minott,
Buzzcocks,
Sound Behaviour,
Desert Stars,
Nico,
Danielle Patucci,
Sparks,
Dennis Brown,
Hardrive,
Thee Headcoats,
Lou Christie,
The Seeds,
The Five Americans,
Notorious BIG live in Amsterdam,
Lebanon Hanover,
Hot Snakes,
Super Lover Cee & Casanova Rud,
R.M.O.,
The Flesh Eaters,
It's A Beautiful Day,
Bobby Sherman,
Curtis Mayfield,
Severed Heads,
Derrick Morgan,
Minnie Riperton,
The Moleskins,
Jerry Gold Smith,
Mark Hollis,
Ohio Players,
Average White Band,
The Electric Prunes,
Wolf Eyes, Wolf Eyes, Wolf Eyes, Wolf Eyes.
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.