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 Andorra and from Columbus.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Hong Kong and Taipei.
I'm losing my edge to the art-school Cairo 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 linndrum sounds with much patience.
I was there when Nile Rodgers 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 N.O.R.E. Featuring Pharrell to the electroclash 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 Moss Icon. All the underground hits.
All Crispian St. Peters tracks. I heard you have a vinyl of every Soft Cell 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 '80s.
I hear you're buying a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Anthony Braxton record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moleskins,
Urselle,
Sly & The Family Stone,
LL Cool J,
Camberwell Now,
Nas,
Pulsallama,
Parry Music,
The Misunderstood,
Danielle Patucci,
The Peanut Butter Conspiracy,
Marc Almond,
Nik Kershaw,
London Community Gospel Choir,
Lebanon Hanover,
Lalo Schifrin,
Marmalade,
Underground Resistance,
Brass Construction,
The Skatalites,
Roger Hodgson,
The Searchers,
Kevin Saunderson,
Thinking Fellers Union Local 282,
Avey Tare's Slasher Flicks,
Country Teasers,
Jerry's Kids,
Amon Düül,
H. Thieme,
Crash Course in Science,
Fear,
Zapp,
Scientists,
Electric Prunes,
the Germs,
The Five Americans,
La Düsseldorf,
Tears for Fears,
the Bar-Kays,
X-101,
Sugar Minott,
Pantaleimon,
Angels of Light & Akron/Family,
Suicide,
The Shadows of Knight,
Malaria!,
Grandmaster Flash,
B.T. Express,
The Fall,
Scott Walker + Sunn O))),
Fat Boys,
Faust,
Jesper Dahlback,
10cc,
Al Stewart,
The Slackers,
Sound Behaviour,
These Immortal Souls,
Babytalk,
Y Pants,
The Happenings,
Ken Boothe,
Dennis Brown,
Gang Gang Dance,
Cybotron, Cybotron, Cybotron, Cybotron.
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.