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 Seychelles 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 1977.
I'm losing my edge.
To all the kids in Halifax and Johannesburg.
I'm losing my edge to the art-school Winnipeg 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 chamberlin sounds with much patience.
I was there when Holger Czukay 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 Drive Like Jehu to the grime 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 Mr. Review. All the underground hits.
All Eurythmics tracks. I heard you have a vinyl of every Brass Construction 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 '70s.
I hear you're buying a snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Model 500 record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharaoh Sanders and the Fire Engines,
John Foxx,
the Association,
June Days,
Marcia Griffiths,
Minnie Riperton,
Jerry Gold Smith,
Deepchord,
Camron Feat. Memphis Bleek And Beenie Seigel,
Agent Orange,
Scott Walker,
X-101,
Lindisfarne,
Crispy Ambulance,
the Normal,
Con Funk Shun,
Maurizio,
The Knickerbockers,
Amon Düül II,
Minutemen,
Sonic Youth,
Marshall Jefferson,
Angels of Light & Akron/Family,
Thompson Twins,
Guru Guru,
Alice Coltrane,
Gian Franco Pienzio,
Erasure,
Andrew Hill,
Masters at Work,
Procol Harum,
The Busters,
Mission of Burma,
X-102,
Spandau Ballet,
The Divine Comedy,
Max Romeo,
Alton Ellis,
The Sound,
The Cure,
Brick,
the Sonics,
Gabor Szabo,
Heavy D & The Boyz,
The Count Five,
Subhumans,
Lee Hazlewood,
Donald Byrd,
Peter & Gordon,
Porter Ricks,
Brothers Johnson,
Zero Boys,
Kas Product,
The Fugs,
Sandy B,
Barbara Tucker,
Stiv Bators,
Siouxsie and the Banshees,
10cc,
Mark Hollis, Mark Hollis, Mark Hollis, Mark Hollis.
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.