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 Sierra Leone and from Salvador.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 Columbus.
I'm losing my edge to the art-school Portland 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the spring reverb sounds with much patience.
I was there when Michael McDonald 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 Howard Jones to the techno kids.
I played it at Cafe Wha.
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 Visage. All the underground hits.
All The Count Five tracks. I heard you have a vinyl of every Pantytec 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 '60s cut and another box set from the '80s.
I hear you're buying a guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Oblivians record.
I hear that you and your band have sold your oboe and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pylon,
Peter Gordon & Love of Life Orchestra,
Pantaleimon,
These Immortal Souls,
Basic Channel,
PIL,
Gary Puckett & The Union Gap,
Kerri Chandler,
The Evens,
Sandy B,
The Blues Magoos,
Simply Red,
Fort Wilson Riot,
Urselle,
Thee Headcoats,
Ronan,
World's Most,
Main Source,
Anthony Braxton,
Mantronix,
the Bar-Kays,
Archie Shepp,
Maleditus Sound,
Gang Starr,
Slick Rick,
Glambeats Corp.,
Marshall Jefferson,
Ice-T,
Rhythim Is Rhythim,
Big Daddy Kane,
Outsiders,
Adolescents,
Alison Limerick,
Japan,
Jesper Dahlbäck,
Curtis Mayfield,
Avey Tare,
Andrew Ashong & Theo Parrish,
The Fire Engines,
John Coltrane,
Animal Collective,
Notorious BIG live in Amsterdam,
Selector Dub Narcotic,
Ituana,
Quando Quango,
Half Japanese,
Soul Sonic Force,
Youth Brigade,
Blake Baxter,
Mandrill,
ABC,
Qualms,
Terrestrial Tones,
Richard Hell and the Voidoids,
Lou Reed,
Soft Cell,
The Victims,
The Associates,
Von Mondo,
Pharoah Sanders,
Todd Rundgren,
Dawn Penn, Dawn Penn, Dawn Penn, Dawn Penn.
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.