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 Paraguay and from Philadelphia.
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 1968 to 1971.
I'm losing my edge.
To all the kids in London and Halifax.
I'm losing my edge to the art-school Hong Kong 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 Nile Rodgers 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 Brick to the grunge 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 Curtis Mayfield. All the underground hits.
All Wally Richardson tracks. I heard you have a vinyl of every Siglo XX record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an organ and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Harry Pussy record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Talk Talk,
Scratch Acid,
The Slackers,
Pulsallama,
Godley & Creme,
Whodini,
Outsiders,
Thinking Fellers Union Local 282,
Bush Tetras,
Justin Hinds & The Dominoes,
Excepter,
Pole,
The Trojans,
Camron Feat. Memphis Bleek And Beenie Seigel,
The J.B.'s,
Gong,
Girls At Our Best!,
Colin Newman,
Model 500,
48th St. Collective,
Lou Christie,
Fluxion,
Alton Ellis,
Bootsy's Rubber Band,
Aswad,
Neil Young & Crazy Horse,
Royal Trux,
Glambeats Corp.,
The Associates,
Supertramp,
Unrelated Segments,
Arab on Radar,
Magazine,
Ash Ra Tempel,
PIL,
Terrestrial Tones,
Strawberry Alarm Clock,
Super Lover Cee & Casanova Rud,
New Age Steppers,
Chrome,
Circle Jerks,
John Cale,
Dennis Brown,
Marshall Jefferson,
Ohio Players,
Gang Green,
Deadbeat,
Kango’s Stein Massive,
Beasts of Bourbon,
Inner City,
Newcleus,
Urselle,
Ajijia Myrayebe,
Cheater Slicks,
Stereo Dub,
Banda Bassotti,
The Cramps,
Camouflage,
Peter and Kerry,
Soul Sonic Force,
Juan Atkins,
Marmalade,
The Vogues,
Lalann, Lalann, Lalann, Lalann.
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.