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 Guatemala and from Taipei.
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 1977.
I'm losing my edge.
To all the kids in Tokyo and Tehran.
I'm losing my edge to the art-school London 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 oboe sounds with much patience.
I was there when Michael McDonald 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 Marshall Jefferson to the grunge 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 Bootsy Collins. All the underground hits.
All The Busters tracks. I heard you have a vinyl of every Glenn Branca record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a rhodes and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
Magazine,
Porter Ricks,
Camron Feat. Jay Z And Juelz,
Q65,
Jerry's Kids,
Smog,
Pole,
Warsaw,
Rahsaan Roland Kirk,
the Bar-Kays,
Mad Mike,
Kauko Röyhkä ja Narttu,
Donny Hathaway,
Kerrie Biddell,
Glambeats Corp.,
L. Decosne,
Soft Cell,
Deakin,
Steve Hackett,
Sandy B,
Wally Richardson,
Barclay James Harvest,
Goldenarms,
The Fire Engines,
Bronski Beat,
Eyeless In Gaza,
The Gap Band,
Newcleus,
Jimmy McGriff,
Gerry Rafferty,
Grandmaster Flash and the Furious Five,
Infiniti,
Byron Stingily,
Amon Düül,
Yellowson,
Masters at Work,
Q and Not U,
Electric Light Orchestra,
Lee Hazlewood,
The Barracudas,
The Star Department,
Pylon,
Tres Demented,
Major Organ And The Adding Machine,
Marvin Gaye,
X-101,
Unrelated Segments,
Oblivians,
Eve St. Jones,
Johnny Clarke,
The Neon Judgement,
One Last Wish,
The Black Dice,
Spandau Ballet,
Brick,
Morten Harket,
The Detroit Cobras,
The Music Machine,
Sun Ra Arkestra,
Flipper,
The Mojo Men,
Rotary Connection, Rotary Connection, Rotary Connection, Rotary Connection.
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.