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 Slovakia and from Milan.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Salvador.
I'm losing my edge to the art-school London 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 Tom Verlaine 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 Ultravox to the funk kids.
I played it at Cafe Wha.
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 Prince Buster. All the underground hits.
All Aloha Tigers tracks. I heard you have a vinyl of every The Angels of Light record on German import.
I heard that you have a white label of every seminal techno 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 clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sandy B,
Ohio Players,
Ultimate Spinach,
Altered Images,
Orchestral Manoeuvres in the Dark,
Blossom Toes,
Alice Coltrane,
Ultravox,
Colin Newman,
Make Up,
the Slits,
Scratch Acid,
Siouxsie and the Banshees,
Q65,
Flash Fearless,
Pagans,
Livin' Joy,
John Holt,
Jerry Gold Smith,
Harmonia,
Barclay James Harvest,
The Selecter,
Liaisons Dangereuses,
Drive Like Jehu,
A Flock of Seagulls,
Ponytail,
Oppenheimer Analysis,
New Age Steppers,
Pete Rock & C.L. Smooth,
Graham Central Station,
Boz Scaggs,
Lalo Schifrin,
The Busters,
Ash Ra Tempel,
Albert Ayler,
Bauhaus,
Shoche,
Terry Callier,
The American Breed,
Lucky Dragons,
The Vogues,
Echospace,
Bobby Byrd,
Andrew Hill,
The Real Kids,
Half Japanese,
Crispian St. Peters,
Rowland S Howard / Lydia Lunch,
48th St. Collective,
The Red Krayola,
The Names,
Das Ding,
Amon Düül II,
Chrome,
Jimmy McGriff,
Joensuu 1685,
Skriet,
Leonard Cohen,
Mark Hollis,
Lou Christie,
Glambeats Corp.,
Black Bananas,
Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck.
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.