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 Georgia and from Cairo.
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 Winnipeg and New York.
I'm losing my edge to the art-school Madrid 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 David Bowie 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 Motions to the funk 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 Lalo Schifrin. All the underground hits.
All John Cale tracks. I heard you have a vinyl of every Cluster 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 '50s cut and another box set from the '80s.
I hear you're buying a snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a 10cc 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?
Electric Light Orchestra,
Cameo,
Fad Gadget,
Brand Nubian,
Notorious BIG live in Amsterdam,
Mission of Burma,
Wasted Youth,
Roxy Music,
Blake Baxter,
Patti Smith,
The Martian,
Silicon Teens,
Buzzcocks,
Robert Hood,
Banda Bassotti,
David Axelrod,
Pharoah Sanders,
Major Organ And The Adding Machine,
Heaven 17,
The West Coast Pop Art Experimental Band,
Rod Modell,
The Offenders,
These Immortal Souls,
Lonnie Liston Smith,
Kool Moe Dee,
Josef K,
Ten City,
Babytalk,
Motorama,
The Walker Brothers,
Pole,
Sunsets and Hearts,
Matthew Halsall,
Eden Ahbez,
Stereo Dub,
Rowland S Howard / Lydia Lunch,
Junior Murvin,
Lindisfarne,
Derrick May,
Drive Like Jehu,
The Mojo Men,
Chris Corsano,
CMW,
Kerrie Biddell,
Nils Olav,
Popol Vuh,
Sun Ra Arkestra,
Echo & the Bunnymen,
L. Decosne,
The Misunderstood,
Donald Byrd,
Selector Dub Narcotic,
The Gap Band,
Lou Reed & Metallica,
Stockholm Monsters,
Excepter,
Delta 5,
Kerri Chandler,
Soft Cell,
Harry Pussy,
KRS-One,
Thompson Twins, Thompson Twins, Thompson Twins, Thompson Twins.
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.