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 Somalia and from Sao Paulo.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Johannesburg and Houston.
I'm losing my edge to the art-school Bremen 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 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 AZ to the jazz kids.
I played it at the Hacienda.
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 Steve Hackett. All the underground hits.
All DJ Sneak tracks. I heard you have a vinyl of every Gil Scott-Heron & Brian Jackson 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 '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Ajijia Myrayebe record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Magma,
Soul II Soul,
The Black Dice,
Sarah Menescal,
kango's stein massive,
Darondo,
Toni Rubio,
James Chance & The Contortions,
OOIOO,
Clear Light,
Robert Wyatt,
Gabor Szabo,
Letta Mbulu,
Andrew Ashong & Theo Parrish,
The Raincoats,
Eurythmics,
Kerri Chandler,
Simply Red,
Bill Wells,
Morten Harket,
Essential Logic,
Avey Tare & Kría Brekkan,
Deepchord,
Hashim,
Bobby Womack,
Camouflage,
Model 500,
Avey Tare,
Bauhaus,
Radiopuhelimet,
The Gap Band,
Jacob Miller,
Lindisfarne,
Unwound,
Tommy Roe,
Country Joe & The Fish,
Pet Shop Boys,
AZ,
The Zeros,
Rhythm & Sound,
Oneida,
Bizarre Inc.,
John Coltrane,
Matthew Bourne,
Lou Reed & Metallica,
Tears for Fears,
Tim Buckley,
Mars,
Warsaw,
A Flock of Seagulls,
Gang of Four,
Franke,
Rosa Yemen,
Dual Sessions,
Con Funk Shun,
Banda Bassotti,
Ken Boothe,
Vainqueur,
Girls At Our Best!,
The Move,
The Martian,
Marc Almond, Marc Almond, Marc Almond, Marc Almond.
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.