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 Turkey and from Bremen.
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 1973.
I'm losing my edge.
To all the kids in Manchester and Houston.
I'm losing my edge to the art-school Woodstock 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the linndrum 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 Josef K to the electroclash 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 Ultimate Spinach. All the underground hits.
All Jimmy McGriff tracks. I heard you have a vinyl of every X-102 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 '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Lonnie Liston Smith record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
Quando Quango,
Country Joe & The Fish,
Angels of Light & Akron/Family,
It's A Beautiful Day,
Hot Snakes,
Jeff Mills,
Iggy Pop,
The Gories,
Nas,
Gian Franco Pienzio,
Charles Mingus,
Notorious BIG live in Amsterdam,
The Fuzztones,
Mr. Review,
Gregory Isaacs,
Lightning Bolt,
John Foxx,
The Wake,
Masters at Work,
Terrestrial Tones,
Ken Boothe,
Warsaw,
Stetsasonic,
U.S. Maple,
the Bar-Kays,
Joyce Sims,
The Skatalites,
Severed Heads,
the Normal,
Rotary Connection,
Red Lorry Yellow Lorry,
The Mighty Diamonds,
Ossler,
Bronski Beat,
the Association,
Fluxion,
Terry Callier,
Ronan,
Peter Gordon & Love of Life Orchestra,
Eric Dolphy,
Moebius,
Lou Reed & Metallica,
Idris Muhammad,
Magazine,
The Pop Group,
Derrick Morgan,
the Germs,
Flash Fearless,
Shuggie Otis,
Don Cherry,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Stockholm Monsters,
The Neon Judgement,
Ludus,
Liliput,
Suicide,
MC5,
Boogie Down Productions,
Marc Almond,
UT, UT, UT, UT.
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.