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 Greece and from Jakarta.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Accra and Accra.
I'm losing my edge to the art-school Winnipeg 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the snare sounds with much patience.
I was there when Donald Fagen 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 E-Dancer to the dance 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 The West Coast Pop Art Experimental Band. All the underground hits.
All U.S. Maple tracks. I heard you have a vinyl of every Camberwell Now record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your linndrum and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soul II Soul,
Isaac Hayes,
Loose Ends,
The Happenings,
Mo-Dettes,
The Peanut Butter Conspiracy,
Louis and Bebe Barron,
Quantec,
The Misunderstood,
Tres Demented,
Kool G Rap & DJ Polo,
Rod Modell,
Spoonie Gee,
Crime,
X-Ray Spex,
The Gun Club,
Gichy Dan,
Hoover,
The Pretty Things,
Moss Icon,
Half Japanese,
Maurizio,
Buzzcocks,
Young Marble Giants,
Oppenheimer Analysis,
New York Dolls,
Amon Düül II,
Harpers Bizarre,
The Remains,
Cluster,
Crash Course in Science,
Reuben Wilson,
Derrick May,
Ultravox,
Lyres,
Pierre Henry,
Nick Fraelich,
F. McDonald,
Slave,
Darondo,
Peter Gordon & Love of Life Orchestra,
10cc,
Wings,
Oblivians,
Outsiders,
Rahsaan Roland Kirk,
Desert Stars,
Bob Dylan,
This Heat,
Connie Case,
Marc Romboy vs. Booka Shade,
Toni Rubio,
Sugar Minott,
KRS-One,
Carl Craig,
PIL,
Curtis Mayfield,
The Monks,
Mary Jane Girls,
Lou Christie,
Deakin,
Dorothy Ashby, Dorothy Ashby, Dorothy Ashby, Dorothy Ashby.
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.