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 Mexico and from Mumbai.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1977.
I'm losing my edge.
To all the kids in Edmonton and Salvador.
I'm losing my edge to the art-school Tokyo 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 1984 at the first Arcadia practice in a loft in London.
I was working on the synthesizer sounds with much patience.
I was there when Donald Fagen 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 the Human League to the funk kids.
I played it at the 40 Watt.
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 John Holt. All the underground hits.
All the Slits tracks. I heard you have a vinyl of every Roy Ayers record on German import.
I heard that you have a white label of every seminal rock 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 spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron and Jamie xx record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barclay James Harvest,
Röyhkä ja Rättö ja Lehtisalo,
Inner City,
The Busters,
Derrick May,
Boogie Down Productions,
Avey Tare & Kría Brekkan,
Newcleus,
Los Fastidios,
James White and The Blacks,
DJ Style,
Lou Reed,
Red Lorry Yellow Lorry,
Theoretical Girls,
Ultimate Spinach,
The Toasters,
Darondo,
Art Ensemble Of Chicago,
Wasted Youth,
Sonny Sharrock,
Robert Görl,
Deepchord,
Steve Hackett,
Schoolly D,
Sex Pistols,
Moebius,
Rosa Yemen,
Kayak,
John Coltrane,
Simply Red,
A Certain Ratio,
The Victims,
Don Cherry,
Kerri Chandler,
Notorious BIG live in Amsterdam,
Gabor Szabo,
The Buckinghams,
Rowland S Howard / Lydia Lunch,
Ralphi Rosario,
Cluster,
Piero Umiliani,
The Mighty Diamonds,
Royal Trux,
The Mojo Men,
Boz Scaggs,
Television,
Amon Düül,
Joe Smooth,
The Count Five,
The Slits,
Eddi Front,
Peter & Gordon,
Duran Duran,
UT,
Justin Hinds & The Dominoes,
Scion,
The Knickerbockers,
The Offenders,
The Kinks,
Average White Band,
Grey Daturas,
David Axelrod,
Faust,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.