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 Gambia and from Jakarta.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Bologna and Taipei.
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 sitar sounds with much patience.
I was there when Nile Rodgers 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 Agent Orange to the jazz 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 The Birthday Party. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every Barry Ungar 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 '80s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a the Soft Cell record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Echospace,
Howard Jones,
Buzzcocks,
Pete Rock & C.L. Smooth,
Art Ensemble Of Chicago,
David McCallum,
Drive Like Jehu,
Max Romeo,
The Fuzztones,
Pharaoh Sanders and the Fire Engines,
Sun Ra Arkestra,
Jesper Dahlback,
48th St. Collective,
Wire,
The Fall,
Morten Harket,
Talk Talk,
London Community Gospel Choir,
The Dave Clark Five,
The Gladiators,
Lucky Dragons,
Louis and Bebe Barron,
The Moleskins,
Flash Fearless,
The Litter,
Duran Duran,
Outsiders,
Strawberry Alarm Clock,
Basic Channel,
Fela Kuti,
The Fire Engines,
Lee Hazlewood,
Anthony Braxton,
The New Christs,
FM Einheit,
Arab on Radar,
The Fugs,
The Skatalites,
Alice Coltrane,
Peter Gordon & Love of Life Orchestra,
MC5,
Notorious Big And Bone Thugs,
DNA,
Quadrant,
DJ Sneak,
Kango’s Stein Massive,
The Selecter,
The Mojo Men,
Gerry Rafferty,
Trumans Water,
Jeff Lynne,
Brothers Johnson,
Lebanon Hanover,
Quantec,
Guru Guru,
the Slits,
Y Pants,
Ronnie Foster,
Scan 7,
The Remains,
The Gap Band,
Ken Boothe, Ken Boothe, Ken Boothe, Ken Boothe.
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.