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 Gambia and from Madrid.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Tehran and Spokane.
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 sitar sounds with much patience.
I was there when David Bowie 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 Slave to the grime kids.
I played it at the 40 Watt.
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 Spandau Ballet. All the underground hits.
All Black Sheep tracks. I heard you have a vinyl of every Connie Case record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Ken Boothe record.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Loose Ends,
Kaleidoscope,
Main Source,
The Zeros,
Television Personalities,
Ultramagnetic MC's,
Donny Hathaway,
Mary Jane Girls,
Mission of Burma,
Jeff Mills,
James Chance & The Contortions,
Blancmange,
Sex Pistols,
Quando Quango,
Subhumans,
Moebius,
Peter Gordon & Love of Life Orchestra,
Crash Course in Science,
Amazonics,
Adolescents,
David McCallum,
the Soft Cell,
Prince Buster,
Ten City,
Siglo XX,
Electric Prunes,
Grandmaster Flash and the Furious Five,
Chris Corsano,
Howard Jones,
Black Flag,
The Searchers,
Urselle,
Bush Tetras,
Franke,
The Misunderstood,
Niagra,
Leonard Cohen,
The Alarm Clocks,
Kings Of Tomorrow,
Bobby Byrd,
Icehouse,
In Retrospect,
Gang Green,
MC5,
Rakim,
Ultravox,
Grandmaster Flash,
Arab on Radar,
The Doors,
The Divine Comedy,
Arcadia,
Jawbox,
Ronnie Foster,
Glambeats Corp.,
Michelle Simonal,
Minnie Riperton,
Deutsch Amerikanische Freundschaft,
Barclay James Harvest,
Gil Scott-Heron & Brian Jackson,
The Trojans,
Eve St. Jones,
The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang.
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.