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 Djibouti and from Accra.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Spokane and Houston.
I'm losing my edge to the art-school Glasgow 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 oboe 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 Television Personalities to the punk kids.
I played it at CBGB's.
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 Simply Red. All the underground hits.
All Sunsets and Hearts tracks. I heard you have a vinyl of every Sonic Youth 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 '80s cut and another box set from the '90s.
I hear you're buying an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Curtis Mayfield record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liaisons Dangereuses,
Rhythim Is Rhythim,
The Move,
London Community Gospel Choir,
Echo & the Bunnymen,
AZ,
Flash Fearless,
Aaron Thompson,
Joe Smooth,
Kayak,
Tubeway Army,
Laurel Aitken,
Soft Machine,
Fat Boys,
Pantytec,
Harry Pussy,
Peter and Kerry,
Essential Logic,
Talk Talk,
H. Thieme,
The Five Americans,
Sound Behaviour,
Gerry Rafferty,
Alton Ellis,
Jesper Dahlback,
Moebius,
Eurythmics,
The Golliwogs,
Duran Duran,
Eddi Front,
Cal Tjader,
Roger Hodgson,
Sonic Youth,
China Crisis,
Wings,
Barry Ungar,
The Beau Brummels,
Roy Ayers Ubiquity,
The Dirtbombs,
Q65,
Alice Coltrane,
Jesper Dahlbäck,
Second Layer,
Jimmy McGriff,
These Immortal Souls,
Sexual Harrassment,
Sparks,
Ludus,
Bad Manners,
Quantec,
Jandek,
Symarip,
Soul Sonic Force,
The Jesus and Mary Chain,
Au Pairs,
Drive Like Jehu,
Nils Olav,
Gil Scott Heron,
De La Soul & Jungle Brothers,
Zapp,
Harpers Bizarre,
The Invisible,
Mark Hollis, Mark Hollis, Mark Hollis, Mark Hollis.
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.