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 Chad and from Manila.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Madrid and Houston.
I'm losing my edge to the art-school Manchester 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 Lou Reed 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 Idris Muhammad to the rap 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 The Toasters. All the underground hits.
All Crash Course in Science tracks. I heard you have a vinyl of every Crooked Eye record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Popol Vuh record.
I hear that you and your band have sold your mellotron and bought an organ.
I hear that you and your band have sold your organ and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dennis Brown,
Dawn Penn,
Fifty Foot Hose,
cv313,
Aaron Thompson,
Lizzy Mercier Descloux,
8 Eyed Spy,
Country Joe & The Fish,
Stereo Dub,
Kaleidoscope,
Marc Almond,
Camouflage,
Man Eating Sloth,
John Lydon,
The Count Five,
Black Moon,
Roger Hodgson,
John Coltrane,
Harpers Bizarre,
Minnie Riperton,
Steve Hackett,
Cal Tjader,
Lungfish,
Marcia Griffiths,
Siglo XX,
Matthew Bourne,
Rufus Thomas,
Bizarre Inc.,
Eden Ahbez,
Wolf Eyes,
The Index,
Boogie Down Productions,
Procol Harum,
Hasil Adkins,
The Motions,
Rakim,
Spoonie Gee,
The Barracudas,
Theoretical Girls,
Main Source,
David McCallum,
Joey Negro,
Tomorrow,
Popol Vuh,
Dead Boys,
Sight & Sound,
Skaos,
Tears for Fears,
Liaisons Dangereuses,
Bush Tetras,
Organ,
The Neon Judgement,
Lebanon Hanover,
the Sonics,
Ohio Players,
Black Pus,
The Star Department,
Kool G Rap & DJ Polo,
Severed Heads,
Mad Mike,
Peter and Kerry,
Ultravox, Ultravox, Ultravox, Ultravox.
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.