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 Morocco and from Copenhagen.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1975.
I'm losing my edge.
To all the kids in Mexico City and Glasgow.
I'm losing my edge to the art-school Hong Kong 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 theremin 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 Alarm Clocks to the electroclash 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 Gong. All the underground hits.
All Scratch Acid tracks. I heard you have a vinyl of every Patti Smith record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Peter & Gordon record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Christie,
Cabaret Voltaire,
Niagra,
Blossom Toes,
The Mummies,
X-101,
Hot Snakes,
The Martian,
Albert Ayler,
Excepter,
Average White Band,
Don Cherry,
Schoolly D,
Mars,
Lee Hazlewood,
Joensuu 1685,
the Slits,
John Holt,
The Vogues,
Richard Hell and the Voidoids,
Black Sheep,
Grandmaster Flash,
Funky Four + One,
Notorious Big And Bone Thugs,
The Fire Engines,
London Community Gospel Choir,
The Five Americans,
Sarah Menescal,
CMW,
Aswad,
Eve St. Jones,
Franke,
Eric Dolphy,
Banda Bassotti,
The Alarm Clocks,
Theoretical Girls,
John Lydon,
The Pop Group,
The Cosmic Jokers,
DJ Sneak,
In Retrospect,
Hashim,
Kango’s Stein Massive,
KRS-One,
The Shadows of Knight,
Jeru the Damaja,
The Velvet Underground,
Severed Heads,
Slick Rick,
Ken Boothe,
Bad Manners,
Guru Guru,
The Electric Prunes,
Arthur Verocai,
Eddi Front,
David Bowie,
Maleditus Sound,
ABBA,
Ash Ra Tempel,
Isaac Hayes,
Sly & The Family Stone,
Matthew Halsall,
The Walker Brothers,
The Smiths, The Smiths, The Smiths, The Smiths.
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.