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 Tuvalu and from Philadelphia.
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 1974.
I'm losing my edge.
To all the kids in Tokyo and Accra.
I'm losing my edge to the art-school Copenhagen 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the harpsichord 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 Lebanon Hanover to the funk kids.
I played it at the Roxy.
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 Ossler. All the underground hits.
All Deepchord tracks. I heard you have a vinyl of every Sparks record on German import.
I heard that you have a white label of every seminal disco 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 an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your rhodes and bought a güiro.
I hear that you and your band have sold your güiro and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skarface,
Byron Stingily,
Lucky Dragons,
The Cowsills,
Pere Ubu,
The Alarm Clocks,
Notorious Big And Bone Thugs,
Aswad,
Radio Birdman,
Kings Of Tomorrow,
Mad Mike,
Andrew Hill,
Oppenheimer Analysis,
Deutsch Amerikanische Freundschaft,
Captain Beefheart & His Magic Band,
Jeff Mills,
Major Organ And The Adding Machine,
Peter Gordon & Love of Life Orchestra,
Howard Jones,
Ponytail,
Jerry Gold Smith,
Crime,
Cabaret Voltaire,
Fad Gadget,
Fugazi,
Aural Exciters,
Urselle,
Deepchord,
Leonard Cohen,
The Modern Lovers,
Smog,
Kurtis Blow,
The Stooges,
Alison Limerick,
Crash Course in Science,
Faust,
8 Eyed Spy,
Mars,
Kango’s Stein Massive,
Supertramp,
Gil Scott-Heron & Brian Jackson,
Bluetip,
Lafayette Afro Rock Band,
Whodini,
Piero Umiliani,
Charles Mingus,
The Barracudas,
Neu!,
Vainqueur,
a-ha,
Technova,
Soft Cell,
Silicon Teens,
Jawbox,
Sight & Sound,
Kas Product,
The Fugs,
Roy Ayers,
the Soft Cell,
The Red Krayola,
Slick Rick,
The Slackers, The Slackers, The Slackers, The Slackers.
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.