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 South Sudan and from Hong Kong.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Tehran and Cairo.
I'm losing my edge to the art-school Hong Kong 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 1984 at the first Arcadia practice in a loft in London.
I was working on the harpsichord 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 Von Mondo to the jazz kids.
I played it at the Spitz.
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 Excepter. All the underground hits.
All Interpol tracks. I heard you have a vinyl of every Icehouse record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Brick record.
I hear that you and your band have sold your linndrum and bought a sitar.
I hear that you and your band have sold your sitar and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Selecter,
Lonnie Liston Smith,
A Flock of Seagulls,
Alphaville,
Scratch Acid,
Janne Schatter,
Trumans Water,
The Mummies,
Dawn Penn,
the Germs,
PIL,
Joe Finger,
Darondo,
The Red Krayola,
Pharoah Sanders,
Excepter,
Juan Atkins,
Supertramp,
The Gories,
Technova,
Monolake,
Arab on Radar,
John Cale,
Peter & Gordon,
Magma,
The Index,
Drive Like Jehu,
Andrew Ashong & Theo Parrish,
Marc Almond,
Drexciya,
Joyce Sims,
Aswad,
The Jesus and Mary Chain,
Grandmaster Flash and the Furious Five,
The Sound,
a-ha,
Hoover,
Glambeats Corp.,
Flash Fearless,
The Beau Brummels,
Radio Birdman,
Marvin Gaye,
Marine Girls,
Oblivians,
Ohio Players,
Warren Ellis,
Subhumans,
Skarface,
Sun Ra,
Quando Quango,
Aaron Thompson,
Sarah Menescal,
Deakin,
The Barracudas,
OOIOO,
Bad Manners,
ABBA,
The Searchers,
Monks,
Model 500,
Ludus, Ludus, Ludus, Ludus.
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.