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 Sweden and from Bremen.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Hong Kong and Lyon.
I'm losing my edge to the art-school Stockholm 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 chamberlin 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 Urselle 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 Tom Boy. All the underground hits.
All Zero Boys tracks. I heard you have a vinyl of every Blake Baxter record on German import.
I heard that you have a white label of every seminal grime 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 theremin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Lonnie Liston Smith record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oneida,
Tomorrow,
Laurel Aitken,
Dark Day,
Pete Rock & C.L. Smooth,
The Blackbyrds,
Michelle Simonal,
The Velvet Underground,
The Kinks,
Fluxion,
Gerry Rafferty,
Banda Bassotti,
The Cowsills,
Ajijia Myrayebe,
Gian Franco Pienzio,
The United States of America,
Black Flag,
Albert Ayler,
Henry Cow,
The Real Kids,
Justin Hinds & The Dominoes,
F. McDonald,
Avey Tare & Kría Brekkan,
L. Decosne,
Judy Mowatt,
Aural Exciters,
Shoche,
The Seeds,
ABBA,
Ludus,
Stockholm Monsters,
Thinking Fellers Union Local 282,
Nik Kershaw,
Boz Scaggs,
Scientists,
Sun Ra,
Black Sheep,
The Raincoats,
Roxy Music,
Hasil Adkins,
Ponytail,
Isaac Hayes,
Joey Negro,
Fugazi,
Richard Hell and the Voidoids,
Spandau Ballet,
Public Enemy,
Electric Light Orchestra,
Juan Atkins,
Quadrant,
Byron Stingily,
The Neon Judgement,
Darondo,
Lee Hazlewood,
Pierre Henry,
The Searchers,
Sister Nancy,
Trumans Water,
Massinfluence,
Scratch Acid,
The Fall,
Barrington Levy, Barrington Levy, Barrington Levy, Barrington Levy.
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.