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 Equatorial Guinea and from Winnipeg.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Halifax and Mumbai.
I'm losing my edge to the art-school Shanghai 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 güiro 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 Ten City to the crunk kids.
I played it at the Spitz.
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 Cowsills. All the underground hits.
All Vladislav Delay tracks. I heard you have a vinyl of every Liaisons Dangereuses record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your linndrum and bought a sitar.
I hear that you and your band have sold your sitar and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cluster,
Crooked Eye,
Pharaoh Sanders and the Fire Engines,
Basic Channel,
Visage,
Man Parrish,
Fugazi,
The United States of America,
Brick,
Arcadia,
The Smiths,
The Smoke,
The Neon Judgement,
X-101,
Robert Hood,
Bobby Womack,
Godley & Creme,
PIL,
The Leaves,
Eddi Front,
Peter Gordon & Love of Life Orchestra,
A Certain Ratio,
The New Christs,
Rakim,
Lower 48,
London Community Gospel Choir,
La Düsseldorf,
Matthew Halsall,
Spandau Ballet,
The Beau Brummels,
Gil Scott-Heron & Brian Jackson,
Severed Heads,
Steve Hackett,
Barrington Levy,
The Divine Comedy,
Model 500,
Siglo XX,
Barbara Tucker,
James Chance & The Contortions,
Juan Atkins,
Eden Ahbez,
Public Enemy,
Fela Kuti,
T.S.O.L.,
Wally Richardson,
New Age Steppers,
AZ,
CMW,
James White and The Blacks,
Bronski Beat,
Kings Of Tomorrow,
Johnny Clarke,
Bad Manners,
The Gun Club,
The Electric Prunes,
Gregory Isaacs,
Ken Boothe,
Black Moon,
The Music Machine,
Clear Light,
Babytalk,
Suicide, Suicide, Suicide, Suicide.
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.