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 Jordan and from Glasgow.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Manchester and Calgary.
I'm losing my edge to the art-school Beijing 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the snare 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 This Heat to the electroclash kids.
I played it at the Hacienda.
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 The Fugs. All the underground hits.
All Freddie Wadling tracks. I heard you have a vinyl of every Gabor Szabo record on German import.
I heard that you have a white label of every seminal rock 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 güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a 48th St. Collective 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?
Pharaoh Sanders and the Fire Engines,
Pussy Galore,
Yellowson,
Donald Byrd,
The Kinks,
Pole,
Boogie Down Productions,
Richard Hell and the Voidoids,
The Fortunes,
Swans,
The Neon Judgement,
Radiopuhelimet,
Fat Boys,
Tubeway Army,
T. Rex,
Lonnie Liston Smith,
Sly & The Family Stone,
James White and The Blacks,
Qualms,
The Invisible,
The Cramps,
Pylon,
Unwound,
The West Coast Pop Art Experimental Band,
Idris Muhammad,
Michelle Simonal,
Darondo,
Connie Case,
Soulsonic Force,
Dr. Dre and Snoop Doggy Dog,
The Detroit Cobras,
Goldenarms,
The Sonics,
Moebius,
Orchestral Manoeuvres in the Dark,
U.S. Maple,
Ultra Naté,
Roxette,
The Red Krayola,
Yazoo,
Ronan,
Patti Smith,
Marmalade,
Surgeon,
Youth Brigade,
Sonic Youth,
Gastr Del Sol,
Lee Hazlewood,
Super Lover Cee & Casanova Rud,
The Slackers,
Essential Logic,
Ossler,
Ajijia Myrayebe,
The Real Kids,
the Normal,
cv313,
Judy Mowatt,
Talk Talk,
Das Ding,
The Leaves,
Sparks,
Scratch Acid, Scratch Acid, Scratch Acid, Scratch Acid.
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.