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 El Salvador and from Mexico City.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Milan and Manchester.
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 1978 at the first Visage practice in a loft in London.
I was working on the 808 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 Doors to the techno kids.
I played it at the Troubador.
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 Bad Manners. All the underground hits.
All Ponytail tracks. I heard you have a vinyl of every Wally Richardson record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an oboe and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Stiv Bators record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron and Jamie xx,
OOIOO,
Brick,
Jesper Dahlbäck,
Ultravox,
Ralphi Rosario,
Aaron Thompson,
Pylon,
Ultramagnetic MC's,
John Foxx,
Flipper,
Tommy Roe,
U.S. Maple,
The Gap Band,
Gary Puckett & The Union Gap,
Fort Wilson Riot,
Nik Kershaw,
Dorothy Ashby,
The Sound,
Excepter,
Kayak,
Intrusion,
The Cramps,
Yazoo,
Public Enemy,
Jerry Gold Smith,
The Residents,
Bad Manners,
The Trojans,
The Tremeloes,
Lou Reed,
Eyeless In Gaza,
Kango’s Stein Massive,
Livin' Joy,
Bronski Beat,
Deutsch Amerikanische Freundschaft,
Arcadia,
Robert Görl,
Kool G Rap & DJ Polo,
Electric Light Orchestra,
Stereo Dub,
Ponytail,
The Neon Judgement,
Barrington Levy,
Shuggie Otis,
Lebanon Hanover,
Bill Near,
the Fania All-Stars,
MC5,
Smog,
Boogie Down Productions,
Cabaret Voltaire,
Pet Shop Boys,
Sad Lovers and Giants,
Can,
The Detroit Cobras,
Popol Vuh,
Yellowson,
Sound Behaviour,
Letta Mbulu,
Vainqueur,
Sam Rivers, Sam Rivers, Sam Rivers, Sam Rivers.
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.