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 Cyprus and from Spokane.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 Seoul and Manchester.
I'm losing my edge to the art-school Jakarta 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 Cecil Taylor to the crunk kids.
I played it at the Astoria.
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 Gil Scott Heron. All the underground hits.
All Kings Of Tomorrow tracks. I heard you have a vinyl of every Erasure record on German import.
I heard that you have a white label of every seminal techno 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 a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Rod Modell record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Colin Newman,
Gian Franco Pienzio,
Gil Scott Heron,
Soulsonic Force,
Lou Christie,
Marine Girls,
Suburban Knight,
X-Ray Spex,
Marcia Griffiths,
Television Personalities,
Con Funk Shun,
Ken Boothe,
Urselle,
Mo-Dettes,
Scientists,
Depeche Mode,
EPMD,
Peter Gordon & Love of Life Orchestra,
Erykah Badu,
MDC,
Juan Atkins,
Eli Mardock,
Niagra,
Mandrill,
Sonny Sharrock,
John Holt,
Isaac Hayes,
The Slits,
Darondo,
Lee Hazlewood,
Davy DMX,
Minor Threat,
Scan 7,
Whodini,
Zero Boys,
Kaleidoscope,
Procol Harum,
The Martian,
Warsaw,
AZ,
Basic Channel,
Adolescents,
the Normal,
Masters at Work,
Yusef Lateef,
Reagan Youth,
Electric Light Orchestra,
Stiv Bators,
World's Most,
Clear Light,
The Count Five,
R.M.O.,
Babytalk,
Aaron Thompson,
Fort Wilson Riot,
Deadbeat,
Röyhkä ja Rättö ja Lehtisalo,
Howard Jones,
The Saints,
Slick Rick,
Janne Schatter, Janne Schatter, Janne Schatter, Janne Schatter.
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.