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 Colombia and from Manila.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Lagos and Mumbai.
I'm losing my edge to the art-school Paris 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the oboe 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 Ken Boothe to the rock 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 Sun Ra. All the underground hits.
All Donny Hathaway tracks. I heard you have a vinyl of every U.S. Maple 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 '80s cut and another box set from the '90s.
I hear you're buying a 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Gabor Szabo record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Byron Stingily,
The Walker Brothers,
John Coltrane,
Scott Walker,
Sex Pistols,
The Dave Clark Five,
the Slits,
The Detroit Cobras,
These Immortal Souls,
X-102,
Rowland S Howard / Lydia Lunch,
Amazonics,
Jacob Miller,
Scratch Acid,
The Remains,
Sixth Finger,
Black Flag,
Fugazi,
Fort Wilson Riot,
Darondo,
Popol Vuh,
Wolf Eyes,
Tim Buckley,
Oblivians,
Danielle Patucci,
The Alarm Clocks,
Curtis Mayfield,
Crash Course in Science,
Idris Muhammad,
Severed Heads,
Jesper Dahlbäck,
Infiniti,
Johnny Clarke,
B.T. Express,
Scientists,
Rapeman,
Altered Images,
Pole,
Grandmaster Flash and the Furious Five,
Bad Manners,
Matthew Bourne,
Mission of Burma,
Brass Construction,
The Smoke,
The Gories,
Swans,
Kool Moe Dee,
Gastr Del Sol,
Camron Feat. Memphis Bleek And Beenie Seigel,
Lakeside,
The Buckinghams,
the Germs,
Terror Squad Feat. Camron,
Q and Not U,
Dark Day,
Joyce Sims,
Tears for Fears,
Matthew Halsall,
Cymande,
Unrelated Segments,
The Toasters,
Jeru the Damaja, Jeru the Damaja, Jeru the Damaja, Jeru the Damaja.
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.