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 Marshall Islands and from Milan.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1975.
I'm losing my edge.
To all the kids in Mumbai and Cairo.
I'm losing my edge to the art-school London 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 chamberlin 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 Lou Reed & Metallica to the funk kids.
I played it at the 40 Watt.
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 Kool Moe Dee. All the underground hits.
All Porter Ricks tracks. I heard you have a vinyl of every Kerri Chandler 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 '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a guitar 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 guitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
Gil Scott Heron,
Kurtis Blow,
Toni Rubio,
Half Japanese,
Urselle,
The Tremeloes,
Frankie Knuckles,
Peter Gordon & Love of Life Orchestra,
Todd Rundgren,
Robert Hood,
Rufus Thomas,
Ten City,
kango's stein massive,
The Selecter,
The Residents,
OOIOO,
Mandrill,
Skriet,
Nik Kershaw,
The Grass Roots,
Babytalk,
Spandau Ballet,
Cybotron,
Hot Snakes,
Be Bop Deluxe,
Gong,
T.S.O.L.,
Susan Cadogan,
Whodini,
Dawn Penn,
Dennis Brown,
Barclay James Harvest,
World's Most,
Andrew Ashong & Theo Parrish,
The Mummies,
Bang on a Can All-Stars,
Joe Smooth,
ABC,
The Invisible,
The Toasters,
Mark Hollis,
The Electric Prunes,
Orchestral Manoeuvres in the Dark,
Manfred Mann's Earth Band,
Captain Beefheart & His Magic Band,
Youth Brigade,
Subhumans,
Sun Ra Arkestra,
Buzzcocks,
Gang of Four,
The Moleskins,
H. Thieme,
Monks,
Aloha Tigers,
The Cramps,
Interpol,
the Bar-Kays,
Absolute Body Control,
Henry Cow,
Bobby Byrd, Bobby Byrd, Bobby Byrd, Bobby Byrd.
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.