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 Nepal and from Edmonton.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Lagos and Philadelphia.
I'm losing my edge to the art-school Portland 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the linndrum 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 The Count Five to the grime kids.
I played it at Trash.
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 Oppenheimer Analysis. All the underground hits.
All Lou Reed & John Cale tracks. I heard you have a vinyl of every Bauhaus record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a the Normal record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Buckinghams,
Grandmaster Flash,
U.S. Maple,
Vainqueur,
Oppenheimer Analysis,
Cecil Taylor,
The Fugs,
Judy Mowatt,
The Real Kids,
Dark Day,
Grandmaster Flash and the Furious Five,
Sad Lovers and Giants,
Lebanon Hanover,
The Stooges,
The Remains,
Pete Rock & C.L. Smooth,
The Cosmic Jokers,
Harry Pussy,
Boogie Down Productions,
Public Image Ltd.,
JFA,
Patti Smith,
It's A Beautiful Day,
AZ,
Sugar Minott,
Davy DMX,
Desert Stars,
Masters at Work,
The Last Poets,
Reuben Wilson,
Peter & Gordon,
Glenn Branca,
Deakin,
The Tremeloes,
John Lydon,
The Techniques,
Yaz,
The Five Americans,
Delon & Dalcan,
Scan 7,
The New Christs,
Sly & The Family Stone,
Lou Reed & John Cale,
The Toasters,
Pagans,
Boz Scaggs,
Alphaville,
Letta Mbulu,
Mars,
Eurythmics,
Rapeman,
B.T. Express,
Henry Cow,
Sun Ra Arkestra,
David Axelrod,
Fad Gadget,
the Association,
The Music Machine,
Tim Buckley,
DeepChord presents Echospace,
Gerry Rafferty, Gerry Rafferty, Gerry Rafferty, Gerry Rafferty.
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.