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 Iceland and from Sao Paulo.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Woodstock and Taipei.
I'm losing my edge to the art-school Accra 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 synthesizer 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 Marine Girls to the techno 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 Strawberry Alarm Clock. All the underground hits.
All Jacques Brel tracks. I heard you have a vinyl of every Das Ding record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Yusef Lateef record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Dolphy,
Desert Stars,
Organ,
Crime,
Bill Near,
Dual Sessions,
The Cowsills,
Model 500,
Minutemen,
Morten Harket,
Sun Ra,
Minnie Riperton,
X-Ray Spex,
Whodini,
Ultramagnetic MC's,
Mark Hollis,
Cheater Slicks,
Newcleus,
Mo-Dettes,
Slave,
Pantaleimon,
Monolake,
Chris Corsano,
Half Japanese,
Amazonics,
Smog,
Junior Murvin,
Peter Gordon & Love of Life Orchestra,
Louis and Bebe Barron,
Ajijia Myrayebe,
Vainqueur,
Sister Nancy,
Wally Richardson,
Dave Gahan,
Bobbi Humphrey,
Peter and Kerry,
The Selecter,
The Gap Band,
Dennis Brown,
Mr. Review,
cv313,
Carl Craig,
The Jesus and Mary Chain,
The Dirtbombs,
Ornette Coleman,
Ten City,
Marcia Griffiths,
Minny Pops,
Saccharine Trust,
Pagans,
The Men They Couldn't Hang,
Simply Red,
Q and Not U,
B.T. Express,
Tears for Fears,
The Fuzztones,
Hasil Adkins,
Captain Beefheart & His Magic Band,
Neil Young,
Peter & Gordon,
Fat Boys,
Trumans Water, Trumans Water, Trumans Water, Trumans Water.
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.