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 Togo and from Beijing.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Copenhagen and Tokyo.
I'm losing my edge to the art-school Manila 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 spring reverb 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 John Cale to the rap kids.
I played it at the Astoria.
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 Vainqueur. All the underground hits.
All Nation of Ulysses tracks. I heard you have a vinyl of every Dark Day record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Röyhkä ja Rättö ja Lehtisalo record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Godley & Creme,
The Count Five,
Steve Hackett,
Maleditus Sound,
the Bar-Kays,
Neil Young,
The Tremeloes,
Crime,
Bizarre Inc.,
The Flesh Eaters,
Dennis Brown,
Gabor Szabo,
Black Pus,
The Last Poets,
La Düsseldorf,
Idris Muhammad,
The Happenings,
Peter & Gordon,
the Fania All-Stars,
Easy Going,
Scion,
Ohio Players,
Joey Negro,
The Knickerbockers,
The Beau Brummels,
Harpers Bizarre,
Marvin Gaye,
London Community Gospel Choir,
Heavy D & The Boyz,
The Fugs,
Jerry's Kids,
Anakelly,
Bluetip,
Justin Hinds & The Dominoes,
Ash Ra Tempel,
8 Eyed Spy,
OOIOO,
Altered Images,
Pete Rock & C.L. Smooth,
Erasure,
Orchestral Manoeuvres in the Dark,
Henry Cow,
Red Lorry Yellow Lorry,
Delon & Dalcan,
The Electric Prunes,
Soul II Soul,
Rites of Spring,
Siglo XX,
D'Angelo,
Peter and Kerry,
kango's stein massive,
Nas,
Sun City Girls,
Von Mondo,
Smog,
Sister Nancy,
Urselle,
Frankie Knuckles,
Sly & The Family Stone,
Lou Reed & John Cale,
Black Flag,
The Blues Magoos, The Blues Magoos, The Blues Magoos, The Blues Magoos.
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.