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 Belarus and from Jakarta.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Mexico City and Johannesburg.
I'm losing my edge to the art-school Salvador 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 sitar 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 the Bar-Kays to the rock 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 Anakelly. All the underground hits.
All Television Personalities tracks. I heard you have a vinyl of every Marc Almond record on German import.
I heard that you have a white label of every seminal jazz 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 theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Marvin Gaye record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Shadows of Knight,
Yusef Lateef,
Patti Smith,
Red Lorry Yellow Lorry,
The Human League,
Lindisfarne,
The Techniques,
Grandmaster Flash and the Furious Five,
U.S. Maple,
James White and The Blacks,
Groovy Waters,
Laurel Aitken,
Crooked Eye,
Jacob Miller,
Louis and Bebe Barron,
Television Personalities,
Niagra,
Pierre Henry,
Maurizio,
The Evens,
Bootsy Collins,
Massinfluence,
Marmalade,
The Moody Blues,
Panda Bear,
DJ Style,
Con Funk Shun,
Roger Hodgson,
the Association,
Alton Ellis,
The Slackers,
Babytalk,
Beasts of Bourbon,
Eurythmics,
Lee Hazlewood,
Gary Puckett & The Union Gap,
Pussy Galore,
Neil Young,
Saccharine Trust,
The Monochrome Set,
Jerry's Kids,
Echospace,
Anakelly,
Piero Umiliani,
Negative Approach,
Bobby Sherman,
Lalo Schifrin,
The Pop Group,
Ituana,
Barbara Tucker,
Peter Gordon & Love of Life Orchestra,
Inner City,
Minutemen,
Traffic Nightmare,
Bluetip,
the Human League,
Radio Birdman,
Unrelated Segments,
Loose Ends,
Livin' Joy,
Oblivians,
The Pretty Things, The Pretty Things, The Pretty Things, The Pretty Things.
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.