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 Portugal and from Jakarta.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and Delhi.
I'm losing my edge to the art-school Taipei 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 Captain Beefheart 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 Chris & Cosey to the rap kids.
I played it at the 40 Watt.
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 Spandau Ballet. All the underground hits.
All Parry Music tracks. I heard you have a vinyl of every Orchestral Manoeuvres in the Dark record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an organ and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Moby Grape record.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Underground Resistance,
Brothers Johnson,
The Monochrome Set,
Saccharine Trust,
Yellowson,
Heaven 17,
Shuggie Otis,
Charles Mingus,
The Walker Brothers,
Rotary Connection,
Suburban Knight,
Crooked Eye,
Spandau Ballet,
Deakin,
X-101,
Minutemen,
Skarface,
Röyhkä ja Rättö ja Lehtisalo,
Deepchord,
Scan 7,
Andrew Ashong & Theo Parrish,
Magazine,
Radio Birdman,
Donny Hathaway,
Neu!,
The Cramps,
The Divine Comedy,
Intrusion,
The Selecter,
Oneida,
Supertramp,
Amon Düül,
The Angels of Light,
Roy Ayers Ubiquity,
Sparks,
Bootsy Collins,
The Wake,
Crispian St. Peters,
Donald Byrd,
Q and Not U,
Flamin' Groovies,
Joe Finger,
The Fire Engines,
Max Romeo,
Art Ensemble Of Chicago,
Dark Day,
10cc,
Slick Rick,
The Monks,
Amazonics,
Ken Boothe,
Oppenheimer Analysis,
X-102,
Tres Demented,
Pet Shop Boys,
The Invisible,
The Pop Group,
Ralphi Rosario,
Jeru the Damaja,
Stiv Bators,
The Standells, The Standells, The Standells, The Standells.
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.