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 Senegal and from Salvador.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Madrid and Jakarta.
I'm losing my edge to the art-school New York 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 Donald Fagen 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 the Bar-Kays to the disco 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 Dennis Brown. All the underground hits.
All Scott Walker + Sunn O))) tracks. I heard you have a vinyl of every Steve Hackett 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 '80s.
I hear you're buying a mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Make Up record.
I hear that you and your band have sold your clarinet and bought a marimba.
I hear that you and your band have sold your marimba and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sight & Sound,
the Association,
Half Japanese,
Little Man,
Henry Cow,
Lakeside,
Nik Kershaw,
The Smoke,
Heaven 17,
Ornette Coleman,
Bobby Womack,
The Moleskins,
The Techniques,
Joey Negro,
Matthew Halsall,
New Age Steppers,
Section 25,
Reuben Wilson,
Johnny Osbourne,
Roger Hodgson,
Clear Light,
New York Dolls,
Röyhkä ja Rättö ja Lehtisalo,
Nirvana,
The Gories,
Janne Schatter,
Wire,
Gang Gang Dance,
Das Ding,
Hardrive,
Jacob Miller,
Icehouse,
Suburban Knight,
Minor Threat,
Crispian St. Peters,
Lower 48,
Sällskapet,
Kings Of Tomorrow,
Pantytec,
Aswad,
La Düsseldorf,
Schoolly D,
The Sisters of Mercy,
Jesper Dahlback,
Roxette,
Ituana,
Babytalk,
Country Teasers,
KRS-One,
Amazonics,
Magma,
Royal Trux,
Bronski Beat,
The Martian,
The Young Rascals,
Sister Nancy,
Simply Red,
the Bar-Kays,
Scrapy,
Public Image Ltd.,
Liaisons Dangereuses,
Pylon,
Sly & The Family Stone,
UT,
Gong, Gong, Gong, Gong.
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.