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 Belgium and from Spokane.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Lagos and Hong Kong.
I'm losing my edge to the art-school Bologna 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 organ 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 Charles Mingus to the disco kids.
I played it at Trash.
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 Scott Walker tracks. I heard you have a vinyl of every Dennis Brown record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Angels of Light & Akron/Family record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Trumans Water,
Marshall Jefferson,
Surgeon,
Lalann,
Shuggie Otis,
Model 500,
Pulsallama,
The Names,
The Neon Judgement,
48th St. Collective,
The Sonics,
The Blackbyrds,
Desert Stars,
Danielle Patucci,
The Mighty Diamonds,
The Fire Engines,
Stockholm Monsters,
Kings Of Tomorrow,
Minutemen,
Minny Pops,
Hasil Adkins,
Wally Richardson,
Can,
Gabor Szabo,
Alison Limerick,
Half Japanese,
Tears for Fears,
Hardrive,
Ultra Naté,
Notorious Big And Bone Thugs,
Liaisons Dangereuses,
Arab on Radar,
Jeru the Damaja,
Flipper,
Tropical Tobacco,
The Cowsills,
The Vogues,
Maleditus Sound,
The Last Poets,
China Crisis,
Brass Construction,
Beasts of Bourbon,
June Days,
Alton Ellis,
Tres Demented,
The Men They Couldn't Hang,
the Sonics,
Flash Fearless,
The Five Americans,
Oneida,
L. Decosne,
The Jesus and Mary Chain,
K-Klass,
Steve Hackett,
Index,
Symarip,
Easy Going,
The Fall,
Eli Mardock,
Lyres,
Banda Bassotti,
Kenny Larkin, Kenny Larkin, Kenny Larkin, Kenny Larkin.
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.