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 Russia and from Lille.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Toronto.
I'm losing my edge to the art-school Lagos 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the mellotron 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 Derrick Morgan to the punk kids.
I played it at the 40 Watt.
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 Joyce Sims. All the underground hits.
All Visage tracks. I heard you have a vinyl of every Bauhaus record on German import.
I heard that you have a white label of every seminal dance 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 arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Junior Murvin record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
La Düsseldorf,
Crooked Eye,
Los Fastidios,
Idris Muhammad,
JFA,
Motorama,
The Saints,
Rhythm & Sound,
Girls At Our Best!,
Jeff Lynne,
James White and The Blacks,
Mark Hollis,
Panda Bear,
Rosa Yemen,
DeepChord presents Echospace,
Shoche,
Reuben Wilson,
Grauzone,
Prince Buster,
Richard Hell and the Voidoids,
Sonny Sharrock,
Rufus Thomas,
Yusef Lateef,
The Fugs,
Fela Kuti,
Sight & Sound,
The Victims,
Tears for Fears,
Marcia Griffiths,
Niagra,
Gang Starr,
Eve St. Jones,
The Raincoats,
Kayak,
Scott Walker,
Manfred Mann's Earth Band,
Sly & The Family Stone,
Fear,
Ash Ra Tempel,
Lou Reed,
Newcleus,
Jeru the Damaja,
The Selecter,
Fifty Foot Hose,
Interpol,
Colin Newman,
Little Man,
Circle Jerks,
Joey Negro,
Arcadia,
Heavy D & The Boyz,
KRS-One,
Clear Light,
Erasure,
Hashim,
Kurtis Blow,
Godley & Creme,
Cameo,
Bobbi Humphrey,
ABBA,
Gang Gang Dance, Gang Gang Dance, Gang Gang Dance, Gang Gang Dance.
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.