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 Ghana 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 1963 to 1975.
I'm losing my edge.
To all the kids in Jakarta and Milan.
I'm losing my edge to the art-school Woodstock 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 rhodes sounds with much patience.
I was there when Robert Palmer 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 Agitation Free to the jazz 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 Cramps. All the underground hits.
All Shuggie Otis tracks. I heard you have a vinyl of every The Cowsills 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 '90s.
I hear you're buying a theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Lucky Dragons record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
OOIOO,
Alphaville,
Lebanon Hanover,
Davy DMX,
Quantec,
Tubeway Army,
Zero Boys,
Fat Boys,
Barclay James Harvest,
Rekid,
Jimmy McGriff,
Girls At Our Best!,
Audionom,
Little Man,
Public Image Ltd.,
Spandau Ballet,
Sad Lovers and Giants,
Mark Hollis,
Trumans Water,
The Misunderstood,
CMW,
Hasil Adkins,
Johnny Clarke,
Pantytec,
The Stooges,
Scan 7,
Brothers Johnson,
Cybotron,
Nick Cave & The Bad Seeds,
Soft Cell,
Marcia Griffiths,
Sparks,
Crispian St. Peters,
Symarip,
Brand Nubian,
LL Cool J,
Avey Tare & Kría Brekkan,
Interpol,
the Sonics,
The Flesh Eaters,
Mandrill,
Soulsonic Force,
PIL,
Prince Buster,
Quadrant,
The Raincoats,
Magazine,
Joe Finger,
The Angels of Light,
Simply Red,
Terry Callier,
Pet Shop Boys,
Orchestral Manoeuvres in the Dark,
The Techniques,
The Knickerbockers,
Minor Threat,
Rapeman,
Minutemen,
Gary Puckett & The Union Gap,
Godley & Creme,
Yazoo, Yazoo, Yazoo, Yazoo.
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.