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 Sri Lanka and from Sao Paulo.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Tokyo and Calgary.
I'm losing my edge to the art-school New York 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 Little Man to the funk kids.
I played it at Cafe Wha.
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 Tears for Fears. All the underground hits.
All Gichy Dan tracks. I heard you have a vinyl of every Goldenarms 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 '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Boredoms record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
AZ,
Peter Gordon & Love of Life Orchestra,
Sällskapet,
The Detroit Cobras,
Marmalade,
Hashim,
Pylon,
Charles Mingus,
June of 44,
Camouflage,
Notorious Big And Bone Thugs,
Delon & Dalcan,
Erasure,
Icehouse,
La Düsseldorf,
Teenage Jesus and the Jerks,
Motorama,
Gil Scott Heron,
The Royal Family And The Poor,
Roxette,
Orchestral Manoeuvres in the Dark,
Iggy Pop,
Crispy Ambulance,
Kango’s Stein Massive,
The Blackbyrds,
The Vogues,
Michelle Simonal,
Big Daddy Kane,
Jesper Dahlback,
The Victims,
Blake Baxter,
Gong,
Suburban Knight,
Fluxion,
Blossom Toes,
John Coltrane,
DJ Style,
Kerrie Biddell,
Skaos,
The Five Americans,
Yusef Lateef,
Easy Going,
Louis and Bebe Barron,
Marshall Jefferson,
Deutsch Amerikanische Freundschaft,
Grandmaster Flash and the Furious Five,
Magazine,
Barclay James Harvest,
Radiopuhelimet,
The Real Kids,
Traffic Nightmare,
The Birthday Party,
Black Sheep,
Lizzy Mercier Descloux,
Faust,
Mr. Review,
The Black Dice,
Television,
Notorious BIG live in Amsterdam, Notorious BIG live in Amsterdam, Notorious BIG live in Amsterdam, Notorious BIG live in Amsterdam.
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.