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 New Zealand and from Copenhagen.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1964 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Lagos.
I'm losing my edge to the art-school Mexico City 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 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 Derrick May to the funk kids.
I played it at Cafe Wha.
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 Alton Ellis. All the underground hits.
All Jeru the Damaja tracks. I heard you have a vinyl of every Bootsy Collins record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a 808 and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Altered Images record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ludus,
James Chance & The Contortions,
Pere Ubu,
Camouflage,
Delon & Dalcan,
Franke,
Brass Construction,
The Blackbyrds,
The Cramps,
LL Cool J,
Niagra,
MC5,
Chrome,
Man Eating Sloth,
Arthur Verocai,
Deadbeat,
Roxette,
Kango’s Stein Massive,
The United States of America,
Flipper,
Sunsets and Hearts,
Gregory Isaacs,
The Cure,
Avey Tare's Slasher Flicks,
The Last Poets,
Underground Resistance,
Ultravox,
Dark Day,
Kevin Saunderson,
Jeff Mills,
Big Daddy Kane,
Crispian St. Peters,
Lakeside,
Nick Fraelich,
Buzzcocks,
Bang on a Can All-Stars,
Robert Görl,
Cluster,
the Sonics,
Eurythmics,
Don Cherry,
Echo & the Bunnymen,
Davy DMX,
The Zeros,
The Men They Couldn't Hang,
Grey Daturas,
Captain Beefheart & His Magic Band,
Glambeats Corp.,
The Smiths,
Metal Thangz,
Crooked Eye,
Kaleidoscope,
Scientists,
The Sisters of Mercy,
Nick Cave & The Bad Seeds,
Scott Walker,
Half Japanese,
The Kinks,
Television Personalities,
Average White Band,
The Toasters,
Marine Girls,
E-Dancer,
Matthew Halsall, Matthew Halsall, Matthew Halsall, Matthew Halsall.
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.