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 India and from Lille.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Hong Kong and Cairo.
I'm losing my edge to the art-school Jakarta 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 1973 at the first Television practice in a loft in New York.
I was working on the harpsichord 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 Alphaville to the techno kids.
I played it at the 40 Watt.
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 The Gap Band. All the underground hits.
All The Shadows of Knight tracks. I heard you have a vinyl of every Royal Trux 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Red Krayola record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ornette Coleman,
Don Cherry,
Eric B and Rakim,
Pylon,
Cymande,
Henry Cow,
Gang Starr,
Alison Limerick,
Curtis Mayfield,
Brick,
Smog,
Alice Coltrane,
The Pop Group,
Robert Hood,
Qualms,
The Doors,
Red Lorry Yellow Lorry,
New Age Steppers,
Lou Reed & Metallica,
The Victims,
Arab on Radar,
Sam Rivers,
Godley & Creme,
The Birthday Party,
Fad Gadget,
Sex Pistols,
Quando Quango,
Soft Cell,
Second Layer,
Ajijia Myrayebe,
Outsiders,
David Bowie,
Iggy Pop,
X-102,
Thinking Fellers Union Local 282,
Selector Dub Narcotic,
Massinfluence,
Masters at Work,
Nick Fraelich,
Scan 7,
Half Japanese,
Eli Mardock,
the Soft Cell,
Mandrill,
Charles Mingus,
MC5,
Deutsch Amerikanische Freundschaft,
Fat Boys,
Albert Ayler,
The Real Kids,
Rosa Yemen,
Roxy Music,
The Toasters,
D'Angelo,
Sun City Girls,
Sunsets and Hearts,
AZ,
London Community Gospel Choir,
Roy Ayers Ubiquity,
The Five Americans,
Piero Umiliani,
Tubeway Army,
A Certain Ratio, A Certain Ratio, A Certain Ratio, A Certain Ratio.
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.