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 Oman and from Madrid.
But I was there.
I was there in 1978.
I was there at the first Visage show in 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 1963 to 1972.
I'm losing my edge.
To all the kids in Mexico City and Tokyo.
I'm losing my edge to the art-school Calgary 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the linndrum 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 Bootsy Collins to the grunge 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 Swans. All the underground hits.
All Slave tracks. I heard you have a vinyl of every Morten Harket 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 '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Arab on Radar record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Techniques,
Skriet,
Dorothy Ashby,
Avey Tare & Kría Brekkan,
Mars,
Oneida,
Royal Trux,
Piero Umiliani,
Crispy Ambulance,
John Foxx,
Donald Byrd,
Alton Ellis,
Skarface,
The Misunderstood,
Y Pants,
Avey Tare,
Anakelly,
Lou Reed,
Juan Atkins,
Bizarre Inc.,
Gregory Isaacs,
Surgeon,
Nik Kershaw,
KRS-One,
Jimmy McGriff,
Beasts of Bourbon,
The Vogues,
Lakeside,
ABBA,
Spandau Ballet,
Eddi Front,
U.S. Maple,
Los Fastidios,
Severed Heads,
Mantronix,
Gang Starr,
Radiohead,
The Blues Magoos,
The Young Rascals,
Television,
Electric Light Orchestra,
Magazine,
This Heat,
Toni Rubio,
Infiniti,
Quantec,
Eden Ahbez,
Jesper Dahlback,
Matthew Halsall,
Liaisons Dangereuses,
Eyeless In Gaza,
The Angels of Light,
Sandy B,
Major Organ And The Adding Machine,
The Zeros,
Pierre Henry,
The Gories,
Banda Bassotti,
Selector Dub Narcotic,
Harpers Bizarre,
Q and Not U,
Urselle,
Lucky Dragons, Lucky Dragons, Lucky Dragons, Lucky Dragons.
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.