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 Pakistan and from Stockholm.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Mexico City and Houston.
I'm losing my edge to the art-school Lagos 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 1984 at the first Arcadia practice in a loft in London.
I was working on the oboe 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 Negative Approach to the funk kids.
I played it at the Roxy.
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 Public Enemy. All the underground hits.
All Crash Course in Science tracks. I heard you have a vinyl of every Tim Buckley record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a mellotron and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Depeche Mode record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Depeche Mode,
Larry & the Blue Notes,
Harpers Bizarre,
Oneida,
Con Funk Shun,
Quadrant,
The Toasters,
Man Eating Sloth,
Graham Central Station,
Faraquet,
Dennis Brown,
Kings Of Tomorrow,
Throbbing Gristle,
The Chocolate Watch Band,
The Associates,
Pulsallama,
Y Pants,
Babytalk,
Robert Hood,
Eli Mardock,
Soulsonic Force,
Peter Gordon & Love of Life Orchestra,
In Retrospect,
Quando Quango,
Bobby Sherman,
The Litter,
Jimmy McGriff,
Public Image Ltd.,
Sun City Girls,
Essential Logic,
Yusef Lateef,
Peter and Kerry,
Jacob Miller,
Mission of Burma,
Sun Ra Arkestra,
Sällskapet,
Eric Dolphy,
Grandmaster Flash,
Jeff Mills,
Bauhaus,
Shuggie Otis,
The Slits,
the Bar-Kays,
Avey Tare's Slasher Flicks,
DJ Style,
Eve St. Jones,
Smog,
Sarah Menescal,
X-Ray Spex,
Country Teasers,
Judy Mowatt,
Todd Terry,
Glenn Branca,
Peter & Gordon,
Organ,
F. McDonald,
Ludus,
Gian Franco Pienzio,
Gerry Rafferty,
Das Ding,
The Residents,
FM Einheit,
Mandrill, Mandrill, Mandrill, Mandrill.
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.