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 Barbados and from Taipei.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Lille and Bremen.
I'm losing my edge to the art-school Tokyo 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the theremin sounds with much patience.
I was there when Donald Fagen 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 The Remains to the grime 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 Jacob Miller. All the underground hits.
All Roxette tracks. I heard you have a vinyl of every Deadbeat record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camouflage,
Babytalk,
Electric Prunes,
Subhumans,
Alphaville,
Lalann,
Nik Kershaw,
Unrelated Segments,
Ohio Players,
The Real Kids,
Visage,
Big Daddy Kane,
The Leaves,
Sad Lovers and Giants,
Hashim,
The Grass Roots,
Scott Walker,
June of 44,
The Dead C,
CMW,
Dark Day,
The Young Rascals,
The Buckinghams,
Depeche Mode,
Khruangbin,
Kayak,
Man Parrish,
Connie Case,
Barrington Levy,
Selector Dub Narcotic,
Franke,
Barbara Tucker,
Tomorrow,
The Monks,
The Velvet Underground,
Sandy B,
Pagans,
the Slits,
Neil Young & Crazy Horse,
Judy Mowatt,
Siglo XX,
Bang On A Can,
New York Dolls,
Aaron Thompson,
Larry & the Blue Notes,
Red Lorry Yellow Lorry,
Juan Atkins,
Kauko Röyhkä ja Narttu,
Q65,
Lou Reed,
The Birthday Party,
Maleditus Sound,
Delon & Dalcan,
David McCallum,
Yusef Lateef,
Liaisons Dangereuses,
N.O.R.E. Featuring Pharrell,
Gregory Isaacs,
Isaac Hayes,
Rapeman,
Avey Tare,
Second Layer,
Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire.
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.