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 Algeria and from Columbus.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Salvador and Tehran.
I'm losing my edge to the art-school Bremen 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the marimba 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 ABC to the grime kids.
I played it at CBGB's.
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 Oneida. All the underground hits.
All Flipper tracks. I heard you have a vinyl of every Barclay James Harvest record on German import.
I heard that you have a white label of every seminal electroclash 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 sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Invisible record.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boredoms,
The Move,
Joe Finger,
Piero Umiliani,
The Pretty Things,
Ajijia Myrayebe,
The Associates,
Lakeside,
Intrusion,
Sight & Sound,
Kevin Saunderson,
Spandau Ballet,
Talk Talk,
Eric B and Rakim,
Black Sheep,
James Chance & The Contortions,
Darondo,
The Index,
Roy Ayers Ubiquity,
The Tremeloes,
Essential Logic,
Iggy Pop,
Pete Rock & C.L. Smooth,
Joe Smooth,
DeepChord presents Echospace,
Major Organ And The Adding Machine,
The Royal Family And The Poor,
Ludus,
the Human League,
Main Source,
Lou Reed & John Cale,
Ohio Players,
Dorothy Ashby,
Vladislav Delay,
The Fire Engines,
Audionom,
The Fuzztones,
Crispy Ambulance,
The Evens,
Soft Machine,
the Normal,
Terry Callier,
Pharaoh Sanders and the Fire Engines,
Fear,
Public Image Ltd.,
Kas Product,
Carl Craig,
Nik Kershaw,
Derrick Morgan,
Pantytec,
Fluxion,
Organ,
Bobby Womack,
Rapeman,
Soft Cell,
Crispian St. Peters,
Scott Walker + Sunn O))),
X-Ray Spex,
Bobby Hutcherson,
Kool G Rap & DJ Polo,
Andrew Ashong & Theo Parrish,
Thinking Fellers Union Local 282, Thinking Fellers Union Local 282, Thinking Fellers Union Local 282, Thinking Fellers Union Local 282.
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.