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 Antigua and from Tehran.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1964 to 1974.
I'm losing my edge.
To all the kids in Shanghai and Paris.
I'm losing my edge to the art-school Salvador 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 arpeggiator 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 Suburban Knight to the rap 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 Scott Walker + Sunn O))). All the underground hits.
All The Shadows of Knight tracks. I heard you have a vinyl of every Easy Going record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Q65 record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Young Marble Giants,
Kevin Saunderson,
Wings,
Suicide,
Erykah Badu,
Popol Vuh,
Avey Tare's Slasher Flicks,
Jeff Mills,
Minor Threat,
The Flesh Eaters,
Shuggie Otis,
Masters at Work,
Marvin Gaye,
The Jesus and Mary Chain,
Main Source,
The Vogues,
Thee Headcoats,
Pharoah Sanders,
The Music Machine,
Boz Scaggs,
Nirvana,
JFA,
The Velvet Underground,
the Fania All-Stars,
Ten City,
KRS-One,
Sex Pistols,
Peter & Gordon,
Gang Gang Dance,
Skaos,
Lungfish,
Chris Corsano,
Electric Light Orchestra,
Ituana,
Gabor Szabo,
Piero Umiliani,
Q65,
The Associates,
The Zeros,
Laurel Aitken,
E-Dancer,
Quantec,
Kauko Röyhkä ja Narttu,
Sugar Minott,
The Smiths,
Country Joe & The Fish,
Yellowson,
Robert Hood,
Be Bop Deluxe,
Kool G Rap & DJ Polo,
Jawbox,
Bang on a Can All-Stars,
The Remains,
The Buckinghams,
The Sonics,
The Cure,
Symarip,
L. Decosne,
Davy DMX,
One Last Wish,
Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew.
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.