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 Israel and from Mexico City.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Mexico City and Philadelphia.
I'm losing my edge to the art-school Winnipeg 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 organ 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 Excepter to the disco kids.
I played it at the Troubador.
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 Angels of Light & Akron/Family. All the underground hits.
All Tom Boy tracks. I heard you have a vinyl of every Neil Young 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 a snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Morten Harket record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ornette Coleman,
Faraquet,
Whodini,
Peter Gordon & Love of Life Orchestra,
Ralphi Rosario,
Saccharine Trust,
Terrestrial Tones,
DJ Style,
The Cramps,
Masters at Work,
Underground Resistance,
Unrelated Segments,
Ultra Naté,
Qualms,
Bauhaus,
Skriet,
Cameo,
Aswad,
Stetsasonic,
Banda Bassotti,
Fluxion,
World's Most,
Minor Threat,
Ken Boothe,
John Foxx,
Guru Guru,
Jesper Dahlback,
Little Man,
Marshall Jefferson,
Big Daddy Kane,
Smog,
The Gap Band,
Heaven 17,
Lou Christie,
Cymande,
Lindisfarne,
Charles Mingus,
Vladislav Delay,
Fifty Foot Hose,
Rufus Thomas,
Sam Rivers,
Brass Construction,
Black Sheep,
Sällskapet,
ABC,
Con Funk Shun,
Electric Prunes,
KRS-One,
Scion,
Second Layer,
Alton Ellis,
Blake Baxter,
Boogie Down Productions,
Khruangbin,
Dawn Penn,
Mars,
Minutemen,
Matthew Halsall,
The Knickerbockers,
Erasure,
The Count Five,
Silicon Teens,
Ash Ra Tempel,
Boz Scaggs,
Brand Nubian, Brand Nubian, Brand Nubian, Brand Nubian.
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.