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 Lagos.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1979.
I'm losing my edge.
To all the kids in Accra and Lille.
I'm losing my edge to the art-school Sao Paulo 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the oboe sounds with much patience.
I was there when Nile Rodgers 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 Lyres to the dance 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 Brass Construction. All the underground hits.
All Agent Orange tracks. I heard you have a vinyl of every Notorious BIG live in Amsterdam record on German import.
I heard that you have a white label of every seminal funk 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 a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Sugar Minott record.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dead Boys,
Magazine,
The Pop Group,
The Young Rascals,
The Chocolate Watch Band,
Black Bananas,
The Invisible,
The Leaves,
The Doors,
U.S. Maple,
The Searchers,
Bobby Byrd,
John Holt,
Slick Rick,
Rotary Connection,
Ultravox,
Sister Nancy,
Pulsallama,
Soulsonic Force,
The Shadows of Knight,
Shuggie Otis,
Fugazi,
Skarface,
Wighnomy Brothers & Robag Wruhme,
AZ,
Bobbi Humphrey,
Bauhaus,
Neu!,
Teenage Jesus and the Jerks,
Carl Craig,
H. Thieme,
Lizzy Mercier Descloux,
Underground Resistance,
Siouxsie and the Banshees,
Peter & Gordon,
John Lydon,
Louis and Bebe Barron,
Wasted Youth,
Tropical Tobacco,
Crime,
Liaisons Dangereuses,
Lou Reed & John Cale,
Bronski Beat,
Ultra Naté,
Cecil Taylor,
Roy Ayers Ubiquity,
the Soft Cell,
Minnie Riperton,
Heavy D & The Boyz,
Bob Dylan,
Minutemen,
Agitation Free,
Simply Red,
Jesper Dahlback,
Rod Modell,
PIL,
Spandau Ballet,
Hardrive,
Dark Day,
Cheater Slicks,
The Seeds,
Soft Cell, Soft Cell, Soft Cell, Soft Cell.
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.