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 Haiti and from Lyon.
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 1979.
I'm losing my edge.
To all the kids in Shanghai and Winnipeg.
I'm losing my edge to the art-school Jakarta 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 organ 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 Masters at Work to the rock kids.
I played it at the Troubador.
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 Leonard Cohen. All the underground hits.
All Arab on Radar tracks. I heard you have a vinyl of every Pole record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a chamberlin 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 marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marcia Griffiths,
The Cramps,
Drive Like Jehu,
Nick Fraelich,
David Axelrod,
Bootsy Collins,
New York Dolls,
China Crisis,
Richard Hell and the Voidoids,
Rosa Yemen,
Terry Callier,
Wolf Eyes,
Rhythm & Sound,
The Durutti Column,
Delon & Dalcan,
Neu!,
Groovy Waters,
June of 44,
Minny Pops,
Echo & the Bunnymen,
Saccharine Trust,
Whodini,
Minnie Riperton,
Eric Copeland,
Pagans,
Bobby Sherman,
Bauhaus,
Sparks,
Harmonia,
Lonnie Liston Smith,
Livin' Joy,
Archie Shepp,
The Sound,
The Evens,
Derrick May,
Dennis Brown,
Donald Byrd,
Royal Trux,
Q and Not U,
Gregory Isaacs,
Stiv Bators,
Radio Birdman,
Television Personalities,
Lower 48,
Duran Duran,
Electric Light Orchestra,
Don Cherry,
Sarah Menescal,
Monks,
Flash Fearless,
Roy Ayers,
Lindisfarne,
The Dave Clark Five,
Slave,
Vladislav Delay,
Lou Reed & Metallica,
Ralphi Rosario,
The Associates,
Letta Mbulu,
Jacques Brel,
Crime, Crime, Crime, Crime.
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.