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 Rwanda and from New York.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Seoul and Paris.
I'm losing my edge to the art-school Manchester 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 synthesizer 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 Black Pus to the funk kids.
I played it at the Troubador.
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 Masters at Work. All the underground hits.
All Sugar Minott tracks. I heard you have a vinyl of every Sly & The Family Stone record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Tim Buckley record.
I hear that you and your band have sold your 808 and bought a marimba.
I hear that you and your band have sold your marimba and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Residents,
The Buckinghams,
Lee Hazlewood,
Marine Girls,
Harmonia,
Alphaville,
Malaria!,
Frankie Knuckles,
Gil Scott Heron,
Ajijia Myrayebe,
Harry Pussy,
Duran Duran,
John Cale,
Monks,
The Skatalites,
Cameo,
Ludus,
Tomorrow,
Radiohead,
Be Bop Deluxe,
The J.B.'s,
Cybotron,
In Retrospect,
Eve St. Jones,
The Associates,
The Tremeloes,
JFA,
Bobby Sherman,
Brothers Johnson,
Hot Snakes,
Gabor Szabo,
Delon & Dalcan,
Aural Exciters,
The Cramps,
Symarip,
Wolf Eyes,
Ken Boothe,
This Heat,
Boredoms,
The Names,
Jeff Mills,
Sonic Youth,
Quadrant,
Brand Nubian,
Spandau Ballet,
Echo & the Bunnymen,
Joensuu 1685,
John Lydon,
Colin Newman,
Art Ensemble Of Chicago,
The Five Americans,
Juan Atkins,
The Moody Blues,
Kauko Röyhkä ja Narttu,
Derrick May,
Electric Light Orchestra,
The Dave Clark Five,
The Young Rascals,
Sarah Menescal,
Kerri Chandler, Kerri Chandler, Kerri Chandler, Kerri Chandler.
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.