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 Armenia and from Paris.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Mexico City and New York.
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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the arpeggiator 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 Frankie Knuckles to the dance 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 Chrome. All the underground hits.
All Bush Tetras tracks. I heard you have a vinyl of every Morten Harket record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a sitar and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Stiv Bators record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sandy B,
The Tremeloes,
Clear Light,
Scrapy,
The Dirtbombs,
Gary Puckett & The Union Gap,
Todd Terry,
Kenny Larkin,
The Moleskins,
This Heat,
Kool Moe Dee,
Stiv Bators,
Joe Smooth,
Outsiders,
Minor Threat,
Basic Channel,
Jacques Brel,
Fad Gadget,
Simply Red,
the Normal,
The Gun Club,
The Motions,
Johnny Clarke,
New Order,
Sparks,
Eli Mardock,
Yaz,
Half Japanese,
Rowland S Howard / Lydia Lunch,
London Community Gospel Choir,
Aloha Tigers,
Fear,
Mo-Dettes,
The Fire Engines,
Bootsy Collins,
Grandmaster Flash and the Furious Five,
Porter Ricks,
Terrestrial Tones,
Faust,
Can,
Gang Green,
Circle Jerks,
The Modern Lovers,
Marcia Griffiths,
CMW,
Skaos,
Roxette,
Animal Collective,
Mars,
Ossler,
Pete Rock & C.L. Smooth,
Funky Four + One,
Bang On A Can,
The Mighty Diamonds,
Boz Scaggs,
Cecil Taylor,
Sexual Harrassment,
Goldenarms,
U.S. Maple,
Peter Gordon & Love of Life Orchestra,
Suburban Knight,
The Fortunes, The Fortunes, The Fortunes, The Fortunes.
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.