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 Belgium and from Bremen.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1971.
I'm losing my edge.
To all the kids in Madrid and London.
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 808 sounds with much patience.
I was there when Tom Verlaine 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 Piero Umiliani to the funk kids.
I played it at the 40 Watt.
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 U.S. Maple. All the underground hits.
All Ossler tracks. I heard you have a vinyl of every The Moleskins record on German import.
I heard that you have a white label of every seminal rock 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 snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Notorious Big And Bone Thugs record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rufus Thomas,
Jimmy McGriff,
Pole,
Harmonia,
Moss Icon,
The Fuzztones,
Judy Mowatt,
Pantaleimon,
Sexual Harrassment,
Captain Beefheart & His Magic Band,
Gil Scott-Heron and Jamie xx,
Mark Hollis,
Lou Christie,
Cymande,
Kenny Larkin,
Khruangbin,
Whodini,
Dual Sessions,
The Electric Prunes,
Liliput,
Symarip,
Man Eating Sloth,
Terrestrial Tones,
Matthew Bourne,
Boogie Down Productions,
Josef K,
Motorama,
Wings,
Tomorrow,
Easy Going,
Au Pairs,
Ajijia Myrayebe,
Pierre Henry,
Roy Ayers,
Fluxion,
Major Organ And The Adding Machine,
Babytalk,
Robert Wyatt,
Make Up,
Echospace,
Eve St. Jones,
Angry Samoans,
JFA,
Jeff Lynne,
8 Eyed Spy,
Quadrant,
The Dirtbombs,
10cc,
Mantronix,
Outsiders,
Grey Daturas,
Kool G Rap & DJ Polo,
Can,
The Doors,
Sun Ra Arkestra,
Johnny Clarke,
Soft Machine,
Sandy B,
K-Klass,
Desert Stars,
the Slits,
Bizarre Inc.,
Moby Grape, Moby Grape, Moby Grape, Moby Grape.
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.