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 Thailand and from Copenhagen.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Copenhagen and Accra.
I'm losing my edge to the art-school New York 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 sitar 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 K-Klass to the dance kids.
I played it at the Spitz.
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 Matthew Bourne. All the underground hits.
All Ohio Players tracks. I heard you have a vinyl of every the Soft Cell record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Lee Hazlewood record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lonnie Liston Smith,
The Slits,
B.T. Express,
Carl Craig,
Malaria!,
Barclay James Harvest,
Tim Buckley,
These Immortal Souls,
Pantaleimon,
Matthew Halsall,
JFA,
The Cure,
The New Christs,
Quando Quango,
The Invisible,
Stiv Bators,
Mo-Dettes,
Gil Scott Heron,
The Martian,
DNA,
Vainqueur,
The Fortunes,
Quantec,
H. Thieme,
Echo & the Bunnymen,
Arcadia,
Scratch Acid,
Warsaw,
Alison Limerick,
Pole,
The Electric Prunes,
Essential Logic,
Glenn Branca,
James White and The Blacks,
John Cale,
Half Japanese,
Gregory Isaacs,
Rosa Yemen,
The Sisters of Mercy,
London Community Gospel Choir,
Supertramp,
The Modern Lovers,
Major Organ And The Adding Machine,
Ohio Players,
Radiopuhelimet,
Accadde A,
Skriet,
Thinking Fellers Union Local 282,
Teenage Jesus and the Jerks,
Depeche Mode,
Barry Ungar,
The American Breed,
The Knickerbockers,
Tomorrow,
The Mojo Men,
Erykah Badu,
De La Soul & Jungle Brothers,
Mark Hollis,
Jacob Miller,
Davy DMX,
Marshall Jefferson,
Loose Ends, Loose Ends, Loose Ends, Loose Ends.
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.