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 Bolivia 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 1967 to 1978.
I'm losing my edge.
To all the kids in Stockholm and Jakarta.
I'm losing my edge to the art-school Mexico City 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 mellotron 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 Fela Kuti to the grime kids.
I played it at the Troubador.
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 Mary Jane Girls. All the underground hits.
All Robert Wyatt tracks. I heard you have a vinyl of every Heaven 17 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 '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a the Soft Cell record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Art Ensemble Of Chicago,
The Doobie Brothers,
The Evens,
Juan Atkins,
Qualms,
The Vogues,
The Dirtbombs,
Dark Day,
Camberwell Now,
The Monks,
Susan Cadogan,
Saccharine Trust,
The Men They Couldn't Hang,
The Wake,
Joy Division,
Sixth Finger,
Al Stewart,
David McCallum,
Ossler,
Robert Wyatt,
Quadrant,
Avey Tare's Slasher Flicks,
Kauko Röyhkä ja Narttu,
The Barracudas,
Guru Guru,
Pantaleimon,
The Victims,
Terror Squad Feat. Camron,
R.M.O.,
Fatback Band,
Lou Reed,
The Angels of Light,
Agent Orange,
the Slits,
The Young Rascals,
Captain Beefheart & His Magic Band,
Infiniti,
The Black Dice,
FM Einheit,
Groovy Waters,
Erasure,
Fifty Foot Hose,
Delta 5,
James White and The Blacks,
Hasil Adkins,
John Coltrane,
The Stooges,
Kas Product,
Television Personalities,
Easy Going,
Kaleidoscope,
Wings,
Davy DMX,
Theoretical Girls,
Archie Shepp,
Eli Mardock,
Jeru the Damaja,
Bush Tetras,
Graham Central Station,
the Sonics,
Skaos,
Yusef Lateef,
Symarip, Symarip, Symarip, Symarip.
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.