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 Jordan and from Lagos.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1969 to 1975.
I'm losing my edge.
To all the kids in Columbus and Salvador.
I'm losing my edge to the art-school Philadelphia 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 theremin 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 Los Fastidios to the jazz 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 Peter Gordon & Love of Life Orchestra. All the underground hits.
All Lalann 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 crunk 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 synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Blackbyrds record.
I hear that you and your band have sold your sitar and bought a snare.
I hear that you and your band have sold your snare and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soul II Soul,
Glambeats Corp.,
Gong,
The Move,
Grauzone,
Inner City,
Whodini,
New York Dolls,
Fifty Foot Hose,
Panda Bear,
Alton Ellis,
Piero Umiliani,
Strawberry Alarm Clock,
48th St. Collective,
Barry Ungar,
Camberwell Now,
Easy Going,
Moss Icon,
Negative Approach,
Ludus,
Boredoms,
A Flock of Seagulls,
D'Angelo,
Depeche Mode,
John Cale,
The Dead C,
a-ha,
Wings,
Minutemen,
Barclay James Harvest,
Guru Guru,
Alphaville,
the Germs,
Man Eating Sloth,
Shuggie Otis,
the Association,
Wire,
Fatback Band,
Funky Four + One,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Rakim,
Red Lorry Yellow Lorry,
X-Ray Spex,
Joensuu 1685,
Prince Buster,
Ohio Players,
The Doobie Brothers,
The Toasters,
The Grass Roots,
Massinfluence,
Mars,
Eric B and Rakim,
Lalann,
Jesper Dahlbäck,
Minny Pops,
Kayak,
DJ Style,
Sound Behaviour,
Davy DMX,
Eurythmics, Eurythmics, Eurythmics, Eurythmics.
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.