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 Saudi Arabia and from Lyon.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Johannesburg.
I'm losing my edge to the art-school Bologna 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 snare 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 The Leaves to the electroclash kids.
I played it at the Astoria.
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 John Foxx. All the underground hits.
All Gil Scott-Heron and Jamie xx tracks. I heard you have a vinyl of every Siglo XX 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 '70s cut and another box set from the '90s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Tim Buckley record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ronnie Foster,
Easy Going,
Royal Trux,
The Martian,
Terrestrial Tones,
Banda Bassotti,
Eddi Front,
Bobby Womack,
Goldenarms,
The Walker Brothers,
Sandy B,
The Monochrome Set,
Audionom,
Soft Cell,
The Divine Comedy,
Monks,
Byron Stingily,
Funkadelic,
Joe Finger,
Danielle Patucci,
Deakin,
The Zeros,
Carl Craig,
The Gories,
The Residents,
China Crisis,
Vladislav Delay,
Nation of Ulysses,
Steve Hackett,
Technova,
Strawberry Alarm Clock,
Camberwell Now,
the Human League,
The Moody Blues,
B.T. Express,
London Community Gospel Choir,
Public Enemy,
Severed Heads,
Cecil Taylor,
La Düsseldorf,
Spandau Ballet,
Roxette,
Gang Gang Dance,
The Evens,
These Immortal Souls,
T.S.O.L.,
Mantronix,
Richard Hell and the Voidoids,
The American Breed,
Oneida,
CMW,
World's Most,
The Dave Clark Five,
John Coltrane,
Masters at Work,
Dr. Dre and Snoop Doggy Dog,
Scott Walker,
Thompson Twins,
Manfred Mann's Earth Band,
Jimmy McGriff,
Tom Boy,
Nico,
The Detroit Cobras,
Matthew Halsall,
X-101, X-101, X-101, X-101.
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.