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 Korea South and from Manchester.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Sao Paulo and Toronto.
I'm losing my edge to the art-school Manila 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 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 Joy Division to the punk kids.
I played it at Trash.
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 Pharaoh Sanders and the Fire Engines. All the underground hits.
All Steve Hackett tracks. I heard you have a vinyl of every Spoonie Gee record on German import.
I heard that you have a white label of every seminal jazz 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 rhodes and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Zero Boys record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Martian,
Soft Machine,
Maleditus Sound,
the Soft Cell,
The Grass Roots,
Gregory Isaacs,
Boogie Down Productions,
Eyeless In Gaza,
the Normal,
The Sonics,
The Zeros,
Delon & Dalcan,
Index,
Fatback Band,
New Age Steppers,
Marshall Jefferson,
Von Mondo,
Easy Going,
Agent Orange,
Pantytec,
Art Ensemble Of Chicago,
Sly & The Family Stone,
Roxette,
Bootsy's Rubber Band,
The Raincoats,
World's Most,
Deepchord,
Oneida,
Andrew Ashong & Theo Parrish,
Dave Gahan,
Rites of Spring,
Sound Behaviour,
Rhythim Is Rhythim,
Ituana,
Johnny Clarke,
La Düsseldorf,
Livin' Joy,
Absolute Body Control,
K-Klass,
Robert Hood,
Marine Girls,
Altered Images,
Hasil Adkins,
Fifty Foot Hose,
The Five Americans,
Blancmange,
Rakim,
Cheater Slicks,
Freddie Wadling,
MDC,
Fugazi,
Theoretical Girls,
Soft Cell,
Black Pus,
ABC,
Lou Reed & Metallica,
Bang On A Can,
Sugar Minott,
B.T. Express, B.T. Express, B.T. Express, B.T. Express.
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.