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 Togo and from Milan.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Manchester and Seoul.
I'm losing my edge to the art-school Hong Kong 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the mellotron 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 Sunsets and Hearts to the crunk kids.
I played it at the Crocodile.
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 Junior Murvin. All the underground hits.
All Glenn Branca tracks. I heard you have a vinyl of every Spandau Ballet 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 '80s cut and another box set from the '70s.
I hear you're buying a marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Man Eating Sloth record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
Flash Fearless,
The Tremeloes,
The Walker Brothers,
Susan Cadogan,
Trumans Water,
Angry Samoans,
Pagans,
Ultra Naté,
Lalann,
Patti Smith,
Harry Pussy,
John Holt,
The Detroit Cobras,
Cameo,
Avey Tare,
Masters at Work,
The J.B.'s,
The American Breed,
Siglo XX,
Spoonie Gee,
The Sisters of Mercy,
Larry & the Blue Notes,
The Cure,
Röyhkä ja Rättö ja Lehtisalo,
E-Dancer,
Camron Feat. Jay Z And Juelz,
World's Most,
Simply Red,
Yaz,
The Velvet Underground,
Absolute Body Control,
Deakin,
Slave,
The Kinks,
Ronnie Foster,
Cybotron,
Shuggie Otis,
Junior Murvin,
Stereo Dub,
Matthew Halsall,
Lakeside,
Anthony Braxton,
Curtis Mayfield,
Angels of Light & Akron/Family,
Agitation Free,
ABBA,
Sam Rivers,
Pole,
One Last Wish,
The Monochrome Set,
DJ Sneak,
Spandau Ballet,
The Zeros,
John Coltrane,
Godley & Creme,
The Fuzztones,
Gabor Szabo,
L. Decosne,
Warsaw,
La Düsseldorf,
China Crisis, China Crisis, China Crisis, China Crisis.
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.