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 Macedonia and from Salvador.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Lille and Spokane.
I'm losing my edge to the art-school Seoul 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the 808 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 Prince Buster to the grime 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 Jerry Gold Smith. All the underground hits.
All Newcleus tracks. I heard you have a vinyl of every Sonny Sharrock 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 '80s cut and another box set from the '70s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Man Eating Sloth record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lafayette Afro Rock Band,
The Busters,
Sarah Menescal,
Kool G Rap & DJ Polo,
Bauhaus,
10cc,
Joyce Sims,
The Remains,
Lindisfarne,
Adolescents,
Jeru the Damaja,
T.S.O.L.,
John Foxx,
Rod Modell,
Fad Gadget,
Television,
Whodini,
Donny Hathaway,
Spandau Ballet,
Funky Four + One,
Scott Walker,
Toni Rubio,
The Men They Couldn't Hang,
The Moody Blues,
Sonny Sharrock,
Joe Finger,
Tres Demented,
The New Christs,
The Doors,
Quantec,
48th St. Collective,
The Grass Roots,
Michelle Simonal,
Fat Boys,
Alton Ellis,
The Barracudas,
The Associates,
Marc Romboy vs. Booka Shade,
Saccharine Trust,
Gregory Isaacs,
Ludus,
Terrestrial Tones,
Ultravox,
Lower 48,
Porter Ricks,
Little Man,
Can,
Sex Pistols,
The Fire Engines,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Bush Tetras,
Glambeats Corp.,
Danielle Patucci,
Sixth Finger,
Dark Day,
Fela Kuti,
Popol Vuh,
Johnny Clarke,
Cheater Slicks,
Roxette,
Sun Ra,
Radiopuhelimet,
Matthew Halsall, Matthew Halsall, Matthew Halsall, Matthew Halsall.
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.