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 Mali and from Portland.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Glasgow and Mexico City.
I'm losing my edge to the art-school Hong Kong 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 spring reverb sounds with much patience.
I was there when Robert Palmer 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 Mad Mike to the funk kids.
I played it at the Spitz.
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 Pete Rock & C.L. Smooth. All the underground hits.
All Dr. Dre and Snoop Doggy Dog tracks. I heard you have a vinyl of every Pere Ubu record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your oboe and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Strawberry Alarm Clock,
Con Funk Shun,
Tommy Roe,
Scratch Acid,
The Residents,
Unrelated Segments,
the Association,
The Fire Engines,
Pere Ubu,
Moebius,
Bluetip,
Little Man,
Faust,
The Smoke,
Scott Walker + Sunn O))),
Delta 5,
Gastr Del Sol,
X-Ray Spex,
Gil Scott Heron,
Nik Kershaw,
Rod Modell,
The Dave Clark Five,
Be Bop Deluxe,
Marvin Gaye,
Ituana,
Country Teasers,
Pulsallama,
Marc Romboy vs. Booka Shade,
Index,
Grey Daturas,
Boredoms,
Jeru the Damaja,
Aural Exciters,
John Lydon,
Heavy D & The Boyz,
The Red Krayola,
Fela Kuti,
Ajijia Myrayebe,
The Slits,
Rapeman,
Scrapy,
Red Lorry Yellow Lorry,
Alton Ellis,
Todd Terry,
Agitation Free,
Althea and Donna,
Khruangbin,
Quadrant,
Swell Maps,
Bobby Byrd,
Leonard Cohen,
PIL,
Surgeon,
the Sonics,
Easy Going,
Bobby Hutcherson,
Vladislav Delay,
Gian Franco Pienzio,
Susan Cadogan,
Nas,
Barclay James Harvest,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.