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 Bahamas and from Tehran.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1960 to 1975.
I'm losing my edge.
To all the kids in Madrid and Taipei.
I'm losing my edge to the art-school Tehran 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 1976 at the first Chic practice in a loft in New York.
I was working on the rhodes sounds with much patience.
I was there when Nile Rodgers 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 Rapeman to the rap 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 Stooges. All the underground hits.
All Robert Hood tracks. I heard you have a vinyl of every Kaleidoscope record on German import.
I heard that you have a white label of every seminal crunk 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 harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Jerry Gold Smith record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siglo XX,
10cc,
Intrusion,
The Kinks,
Popol Vuh,
Ultimate Spinach,
Outsiders,
Scion,
Jawbox,
The Modern Lovers,
Girls At Our Best!,
Glambeats Corp.,
Black Sheep,
Ten City,
Jerry's Kids,
Vaughan Mason & Crew,
Richard Hell and the Voidoids,
Mars,
T. Rex,
Bauhaus,
Depeche Mode,
Lou Reed,
Sixth Finger,
The Jesus and Mary Chain,
Thee Headcoats,
Unrelated Segments,
Ituana,
Nick Fraelich,
Swell Maps,
Lou Reed & John Cale,
Jacques Brel,
Byron Stingily,
The Birthday Party,
Peter & Gordon,
Guru Guru,
Lee Hazlewood,
The Star Department,
The Velvet Underground,
Goldenarms,
London Community Gospel Choir,
Q65,
Lizzy Mercier Descloux,
Eden Ahbez,
Arcadia,
Von Mondo,
Index,
Spoonie Gee,
Heaven 17,
Sad Lovers and Giants,
The Red Krayola,
Tommy Roe,
Chris & Cosey,
The Cowsills,
the Human League,
Amon Düül,
The Mummies,
Yazoo,
Bobby Hutcherson,
The Real Kids,
Don Cherry,
The Dave Clark Five, The Dave Clark Five, The Dave Clark Five, The Dave Clark Five.
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.