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 Honduras and from Stockholm.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Accra and Glasgow.
I'm losing my edge to the art-school Manchester 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 snare sounds with much patience.
I was there when Lou Reed 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 Lou Christie to the funk 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 Amon Düül II. All the underground hits.
All Sister Nancy tracks. I heard you have a vinyl of every Scan 7 record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your marimba and bought an oboe.
I hear that you and your band have sold your oboe and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
Bobby Sherman,
The Grass Roots,
Wally Richardson,
Tim Buckley,
The American Breed,
Maurizio,
Notorious Big And Bone Thugs,
The United States of America,
Infiniti,
Sad Lovers and Giants,
The Cramps,
Roy Ayers,
F. McDonald,
The Alarm Clocks,
Loose Ends,
Angels of Light & Akron/Family,
T. Rex,
Alphaville,
Nils Olav,
Kool G Rap & DJ Polo,
Japan,
Mark Hollis,
The Gun Club,
Technova,
The Walker Brothers,
Grey Daturas,
Jandek,
Avey Tare's Slasher Flicks,
Cybotron,
Danielle Patucci,
The Residents,
The Beau Brummels,
Livin' Joy,
Half Japanese,
The Young Rascals,
Minnie Riperton,
Robert Hood,
Tropical Tobacco,
The Cowsills,
It's A Beautiful Day,
John Foxx,
Television Personalities,
Avey Tare,
Pulsallama,
Intrusion,
Crash Course in Science,
Boogie Down Productions,
Simply Red,
Andrew Ashong & Theo Parrish,
Neil Young & Crazy Horse,
Sister Nancy,
Lakeside,
Television,
Fat Boys,
Procol Harum,
The J.B.'s,
Super Lover Cee & Casanova Rud,
Tres Demented,
Roxy Music,
Kerrie Biddell,
Oppenheimer Analysis,
Tears for Fears, Tears for Fears, Tears for Fears, Tears for Fears.
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.