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 Botswana and from Edmonton.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Copenhagen and Madrid.
I'm losing my edge to the art-school Johannesburg 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 linndrum sounds with much patience.
I was there when Michael McDonald 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 Fire Engines to the funk 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 The Smiths. All the underground hits.
All Spandau Ballet tracks. I heard you have a vinyl of every Public Image Ltd. 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 '60s cut and another box set from the '90s.
I hear you're buying a rhodes and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Isaac Hayes record.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
Colin Newman,
Niagra,
X-Ray Spex,
Andrew Ashong & Theo Parrish,
Kauko Röyhkä ja Narttu,
Anthony Braxton,
Rufus Thomas,
The Buckinghams,
ABC,
Heavy D & The Boyz,
Make Up,
Visage,
Bizarre Inc.,
Deadbeat,
Wasted Youth,
Moby Grape,
Aaron Thompson,
Tres Demented,
Jerry's Kids,
Gang Gang Dance,
The American Breed,
Fifty Foot Hose,
Henry Cow,
Bad Manners,
Robert Görl,
Harmonia,
Yaz,
Ponytail,
Selector Dub Narcotic,
Cabaret Voltaire,
Vainqueur,
Brand Nubian,
The Royal Family And The Poor,
Kool G Rap & DJ Polo,
Lakeside,
Ten City,
Gong,
James White and The Blacks,
Pharoah Sanders,
Joe Smooth,
Little Man,
Freddie Wadling,
Flamin' Groovies,
The Mummies,
Roy Ayers,
MC5,
Liaisons Dangereuses,
The Offenders,
Tommy Roe,
Kurtis Blow,
Electric Prunes,
The Dirtbombs,
Agitation Free,
Radio Birdman,
Marc Romboy vs. Booka Shade,
Mission of Burma,
Spoonie Gee,
Pulsallama,
Patti Smith,
DeepChord presents Echospace,
Interpol, Interpol, Interpol, Interpol.
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.