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 Mozambique and from Copenhagen.
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 1972.
I'm losing my edge.
To all the kids in Glasgow and Manila.
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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the rhodes 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 Depeche Mode to the funk kids.
I played it at the Hacienda.
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 Tremeloes. All the underground hits.
All Gian Franco Pienzio tracks. I heard you have a vinyl of every Moby Grape record on German import.
I heard that you have a white label of every seminal rock 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 clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a KRS-One record.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear that you and your band have sold your 808 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?
Liaisons Dangereuses,
Television,
Radiopuhelimet,
LL Cool J,
June Days,
Big Daddy Kane,
Patti Smith,
Ultra Naté,
the Association,
The Vogues,
Andrew Ashong & Theo Parrish,
Strawberry Alarm Clock,
Con Funk Shun,
The Cowsills,
Scan 7,
Throbbing Gristle,
Severed Heads,
Masters at Work,
Lou Reed,
Dennis Brown,
Surgeon,
Unrelated Segments,
Eddi Front,
Mark Hollis,
It's A Beautiful Day,
Joe Smooth,
Fat Boys,
Fifty Foot Hose,
The Monks,
Janne Schatter,
The Index,
Chris & Cosey,
The Kinks,
John Cale,
Siglo XX,
Johnny Clarke,
Schoolly D,
John Lydon,
Glenn Branca,
Anthony Braxton,
Ohio Players,
Panda Bear,
kango's stein massive,
Gerry Rafferty,
the Germs,
Urselle,
David McCallum,
Depeche Mode,
Bob Dylan,
Rakim,
China Crisis,
Bobby Hutcherson,
Country Teasers,
The Count Five,
Kool G Rap & DJ Polo,
Jacques Brel,
The Smiths,
Theoretical Girls,
Oblivians,
Fluxion,
The Cramps,
The Skatalites, The Skatalites, The Skatalites, The Skatalites.
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.