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 Uruguay and from Lyon.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Bologna and Shanghai.
I'm losing my edge to the art-school Columbus 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 synthesizer 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 Howard Jones to the rap kids.
I played it at the Roxy.
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 John Coltrane. All the underground hits.
All Spoonie Gee tracks. I heard you have a vinyl of every The Dirtbombs 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 '80s.
I hear you're buying a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Kool Moe Dee record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Black Pus,
Lightning Bolt,
the Normal,
Drive Like Jehu,
The Smiths,
Country Joe & The Fish,
Urselle,
Gerry Rafferty,
The Black Dice,
Warsaw,
Wally Richardson,
Bobby Womack,
Alphaville,
Michelle Simonal,
The Victims,
Traffic Nightmare,
Bronski Beat,
Pere Ubu,
Trumans Water,
Negative Approach,
The Index,
H. Thieme,
Brand Nubian,
Cameo,
Intrusion,
Kenny Larkin,
Radio Birdman,
A Certain Ratio,
The Move,
Neil Young,
Scott Walker + Sunn O))),
Liaisons Dangereuses,
Idris Muhammad,
Japan,
Hoover,
Sonic Youth,
Major Organ And The Adding Machine,
Archie Shepp,
U.S. Maple,
Fear,
Judy Mowatt,
Con Funk Shun,
Man Parrish,
Mark Hollis,
Hasil Adkins,
10cc,
Nick Cave & The Bad Seeds,
Charles Mingus,
Sugar Minott,
Altered Images,
Fugazi,
Jerry's Kids,
Anthony Braxton,
The Doors,
Severed Heads,
Sonny Sharrock,
World's Most,
The Gories,
Gang Gang Dance,
Visage,
Jerry Gold Smith, Jerry Gold Smith, Jerry Gold Smith, Jerry Gold Smith.
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.