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 Burundi and from Sao Paulo.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Philadelphia and Lagos.
I'm losing my edge to the art-school Shanghai 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 mellotron sounds with much patience.
I was there when Captain Beefheart 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 Rosa Yemen to the electroclash 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 Make Up. All the underground hits.
All The Young Rascals tracks. I heard you have a vinyl of every Matthew Halsall record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Model 500 record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Flock of Seagulls,
Barclay James Harvest,
Andrew Hill,
The Evens,
Main Source,
Dark Day,
The Pop Group,
Black Pus,
Roy Ayers Ubiquity,
Siouxsie and the Banshees,
Eve St. Jones,
Heavy D & The Boyz,
Bronski Beat,
Joe Finger,
Mo-Dettes,
Black Moon,
Donny Hathaway,
Stiv Bators,
The Fire Engines,
Dual Sessions,
Bizarre Inc.,
Crispy Ambulance,
The Martian,
Joyce Sims,
Inner City,
Roger Hodgson,
Terror Squad Feat. Camron,
Blake Baxter,
Bobby Sherman,
Camouflage,
The Golliwogs,
the Sonics,
London Community Gospel Choir,
World's Most,
Theoretical Girls,
Jerry Gold Smith,
Tubeway Army,
Quadrant,
Adolescents,
The Slackers,
Peter Gordon & Love of Life Orchestra,
Letta Mbulu,
Gil Scott-Heron and Jamie xx,
Ponytail,
The Happenings,
Wally Richardson,
Brass Construction,
Jerry's Kids,
Nick Fraelich,
The Count Five,
Section 25,
Ralphi Rosario,
The Zeros,
Boogie Down Productions,
cv313,
Bill Near,
Crime,
Electric Prunes,
The Remains,
Barbara Tucker,
Metal Thangz,
The Offenders,
Buzzcocks,
Aswad, Aswad, Aswad, Aswad.
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.