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 Dominican Republic and from Mexico City.
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 1973.
I'm losing my edge.
To all the kids in Edmonton and Mumbai.
I'm losing my edge to the art-school Lagos 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 1978 at the first Visage practice in a loft in London.
I was working on the oboe sounds with much patience.
I was there when Holger Czukay 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 Eden Ahbez to the crunk kids.
I played it at the Hacienda.
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 Neil Young & Crazy Horse. All the underground hits.
All Blancmange tracks. I heard you have a vinyl of every U.S. Maple record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Rapeman 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?
Qualms,
Röyhkä ja Rättö ja Lehtisalo,
Angels of Light & Akron/Family,
New York Dolls,
Rhythim Is Rhythim,
Kool G Rap & DJ Polo,
E-Dancer,
Gil Scott-Heron & Brian Jackson,
Godley & Creme,
Barrington Levy,
Rufus Thomas,
Parry Music,
Amazonics,
10cc,
Marc Romboy vs. Booka Shade,
Peter and Kerry,
Half Japanese,
Harpers Bizarre,
Franke,
Animal Collective,
Little Man,
Talk Talk,
Rahsaan Roland Kirk,
Nation of Ulysses,
Soul II Soul,
Bootsy's Rubber Band,
Thompson Twins,
Captain Beefheart & His Magic Band,
Symarip,
Richard Hell and the Voidoids,
Terror Squad Feat. Camron,
Black Sheep,
Sad Lovers and Giants,
Alice Coltrane,
The Last Poets,
Ultramagnetic MC's,
Red Lorry Yellow Lorry,
Avey Tare's Slasher Flicks,
The Fire Engines,
Spoonie Gee,
Second Layer,
Electric Light Orchestra,
Yazoo,
Derrick Morgan,
Brass Construction,
Crime,
Prince Buster,
Make Up,
Bang on a Can All-Stars,
Whodini,
Popol Vuh,
Michelle Simonal,
Stetsasonic,
Metal Thangz,
The Detroit Cobras,
Nik Kershaw,
Young Marble Giants,
Rekid,
Hardrive,
Slave,
LL Cool J,
Faust,
Dorothy Ashby, Dorothy Ashby, Dorothy Ashby, Dorothy Ashby.
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.