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 Ireland and from Spokane.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Houston and Johannesburg.
I'm losing my edge to the art-school Sao Paulo 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 mellotron 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 Lafayette Afro Rock Band to the jazz kids.
I played it at the Spitz.
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 Flipper. All the underground hits.
All The Music Machine tracks. I heard you have a vinyl of every Unrelated Segments 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 '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Gang Starr record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slackers,
Scan 7,
Sarah Menescal,
Radiohead,
Fluxion,
Ornette Coleman,
The Move,
The Human League,
Tropical Tobacco,
Section 25,
DNA,
Fear,
Inner City,
The Walker Brothers,
MC5,
Matthew Halsall,
The Jesus and Mary Chain,
The Modern Lovers,
Wally Richardson,
Soul Sonic Force,
The Associates,
Bad Manners,
Los Fastidios,
Throbbing Gristle,
Amazonics,
Nik Kershaw,
The Mighty Diamonds,
The Beau Brummels,
Qualms,
Sonic Youth,
Slave,
Danielle Patucci,
Kevin Saunderson,
Erykah Badu,
Hoover,
The Trojans,
Lower 48,
Quantec,
Shuggie Otis,
John Coltrane,
Faraquet,
Brass Construction,
Teenage Jesus and the Jerks,
Ash Ra Tempel,
One Last Wish,
Jeff Lynne,
Lakeside,
Lindisfarne,
Livin' Joy,
The Invisible,
Wasted Youth,
Louis and Bebe Barron,
The Happenings,
Supertramp,
Nico,
a-ha,
Siglo XX,
A Flock of Seagulls,
Porter Ricks,
the Swans,
Minor Threat,
The Barracudas, The Barracudas, The Barracudas, The Barracudas.
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.