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 Iran and from Woodstock.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Mumbai and Mexico City.
I'm losing my edge to the art-school Mumbai 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 sitar sounds with much patience.
I was there when Michael McDonald 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 Evens to the grime kids.
I played it at the Roxy.
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 Funky Four + One. All the underground hits.
All Beasts of Bourbon tracks. I heard you have a vinyl of every Henry Cow 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 '90s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Eli Mardock record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rosa Yemen,
Fad Gadget,
The Grass Roots,
Juan Atkins,
Sonny Sharrock,
CMW,
The Detroit Cobras,
The Sonics,
Gang Green,
MC5,
Girls At Our Best!,
Frankie Knuckles,
Bobby Womack,
Magma,
A Flock of Seagulls,
Glenn Branca,
Unwound,
Boogie Down Productions,
David Bowie,
LL Cool J,
The Fuzztones,
Danielle Patucci,
The Knickerbockers,
Isaac Hayes,
Brothers Johnson,
Hot Snakes,
World's Most,
Mandrill,
Eric B and Rakim,
Grandmaster Flash,
Kerrie Biddell,
Kevin Saunderson,
Kango’s Stein Massive,
John Lydon,
Bizarre Inc.,
The Smoke,
Arthur Verocai,
Jeff Lynne,
Q65,
Joey Negro,
Visage,
Harpers Bizarre,
Porter Ricks,
Symarip,
David McCallum,
Stereo Dub,
Harmonia,
Prince Buster,
Fort Wilson Riot,
Notorious Big And Bone Thugs,
June of 44,
Roxy Music,
Art Ensemble Of Chicago,
Second Layer,
Dave Gahan,
Unrelated Segments,
Minny Pops,
Schoolly D,
Intrusion,
The Shadows of Knight,
Radio Birdman,
the Swans,
the Slits,
Mark Hollis, Mark Hollis, Mark Hollis, Mark Hollis.
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.