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 Niger and from Glasgow.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Beijing and Jakarta.
I'm losing my edge to the art-school Philadelphia 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 arpeggiator 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 Pole to the grime 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 Scrapy. All the underground hits.
All Soft Cell tracks. I heard you have a vinyl of every Country Joe & The Fish record on German import.
I heard that you have a white label of every seminal crunk 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 mellotron and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Sly & The Family Stone record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cheater Slicks,
Arthur Verocai,
Symarip,
The Motions,
The Detroit Cobras,
ABBA,
The Doobie Brothers,
These Immortal Souls,
R.M.O.,
The Fuzztones,
Fela Kuti,
Lee Hazlewood,
Althea and Donna,
Marc Almond,
The Beau Brummels,
Ultravox,
Al Stewart,
B.T. Express,
Spandau Ballet,
Eurythmics,
Selector Dub Narcotic,
Cluster,
The Moleskins,
Jandek,
the Association,
Unwound,
Thinking Fellers Union Local 282,
Echo & the Bunnymen,
The Chocolate Watch Band,
Harpers Bizarre,
Rakim,
Simply Red,
Outsiders,
The Jesus and Mary Chain,
the Slits,
Avey Tare's Slasher Flicks,
Q and Not U,
Mad Mike,
The Human League,
Johnny Clarke,
Lou Reed & Metallica,
Neu!,
Echospace,
Eyeless In Gaza,
The Mummies,
Juan Atkins,
Drive Like Jehu,
Matthew Halsall,
Motorama,
Rufus Thomas,
Gerry Rafferty,
Jacob Miller,
The Peanut Butter Conspiracy,
Ken Boothe,
Sly & The Family Stone,
Yazoo,
Mars,
Wings,
Dennis Brown,
The Cosmic Jokers,
T. Rex, T. Rex, T. Rex, T. Rex.
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.