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 Thailand and from Tehran.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Halifax and Jakarta.
I'm losing my edge to the art-school Tehran 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 güiro sounds with much patience.
I was there when David Bowie 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 Masta Ace, Craig G, Kool G Rap, Big Daddy Kane to the punk kids.
I played it at Trash.
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 Connie Case. All the underground hits.
All Gary Puckett & The Union Gap tracks. I heard you have a vinyl of every Average White Band record on German import.
I heard that you have a white label of every seminal techno 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 an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Neil Young record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dark Day,
It's A Beautiful Day,
The Fire Engines,
Barclay James Harvest,
Make Up,
Grandmaster Flash,
Eurythmics,
Cecil Taylor,
The Mojo Men,
Lyres,
The United States of America,
The Busters,
Bobbi Humphrey,
Barbara Tucker,
The Grass Roots,
Flash Fearless,
The Men They Couldn't Hang,
Lee Hazlewood,
Sticky Fingaz feat. Raekwon,
Talk Talk,
Alice Coltrane,
Steve Hackett,
Gil Scott Heron,
Bootsy's Rubber Band,
Isaac Hayes,
Interpol,
The Chocolate Watch Band,
Darondo,
La Düsseldorf,
B.T. Express,
Junior Murvin,
Quadrant,
Aural Exciters,
Minutemen,
Quantec,
Jawbox,
Ohio Players,
Joe Smooth,
Kool Moe Dee,
Ultravox,
Schoolly D,
Delon & Dalcan,
Pierre Henry,
Banda Bassotti,
Faraquet,
Sound Behaviour,
Y Pants,
Outsiders,
R.M.O.,
Livin' Joy,
Pantaleimon,
Neil Young,
Soft Machine,
Scientists,
Eli Mardock,
Deepchord,
Pylon,
The Birthday Party,
Dawn Penn, Dawn Penn, Dawn Penn, Dawn Penn.
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.