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 Netherlands and from Delhi.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Mumbai and Madrid.
I'm losing my edge to the art-school Bremen 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 synthesizer sounds with much patience.
I was there when Lou Reed 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 Althea and Donna to the crunk kids.
I played it at the Crocodile.
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 Marcia Griffiths. All the underground hits.
All David Axelrod tracks. I heard you have a vinyl of every Sex Pistols 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 '80s cut and another box set from the '70s.
I hear you're buying a guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Pete Rock & C.L. Smooth record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boogie Down Productions,
The Residents,
Soft Cell,
Jerry's Kids,
Angels of Light & Akron/Family,
Jerry Gold Smith,
Joe Finger,
Vladislav Delay,
Mark Hollis,
Crime,
The Standells,
Yazoo,
Zapp,
The Wake,
Kas Product,
Arab on Radar,
Infiniti,
Masters at Work,
The Smoke,
Magma,
Kango’s Stein Massive,
ABC,
The Pop Group,
Fifty Foot Hose,
Skriet,
Ludus,
Niagra,
The Jesus and Mary Chain,
Symarip,
Ponytail,
The United States of America,
Liaisons Dangereuses,
Pulsallama,
The Sound,
David Axelrod,
Aswad,
Country Joe & The Fish,
The Detroit Cobras,
Bronski Beat,
Tim Buckley,
Adolescents,
The Alarm Clocks,
James White and The Blacks,
Altered Images,
Thinking Fellers Union Local 282,
Arthur Verocai,
Groovy Waters,
David McCallum,
10cc,
Iggy Pop,
Ornette Coleman,
Maurizio,
Grauzone,
Rapeman,
Barclay James Harvest,
Main Source,
Sonic Youth,
Moebius,
Harmonia,
Joey Negro,
Pantytec,
Whodini,
Connie Case, Connie Case, Connie Case, Connie Case.
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.