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 Trinidad & Tobago and from Stockholm.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and Lille.
I'm losing my edge to the art-school Tokyo 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 Zapp practice in a loft in Hamilton.
I was working on the 808 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 Marc Almond 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 Mad Mike. All the underground hits.
All R.M.O. tracks. I heard you have a vinyl of every Marine Girls 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 '70s cut and another box set from the '70s.
I hear you're buying a rhodes and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Black Moon record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monolake,
Model 500,
Reagan Youth,
Cheater Slicks,
Leonard Cohen,
Index,
Mission of Burma,
Rosa Yemen,
Andrew Ashong & Theo Parrish,
Hasil Adkins,
Absolute Body Control,
EPMD,
Chris Corsano,
The Doors,
John Lydon,
Das Ding,
Avey Tare & Kría Brekkan,
the Human League,
Kayak,
Country Teasers,
Ponytail,
Lou Reed & John Cale,
Saccharine Trust,
The Gories,
Aswad,
Minor Threat,
X-102,
Art Ensemble Of Chicago,
Albert Ayler,
The Selecter,
Joey Negro,
Robert Hood,
Television Personalities,
The Alarm Clocks,
Erykah Badu,
Mad Mike,
H. Thieme,
Public Enemy,
Ultimate Spinach,
Arab on Radar,
David Axelrod,
Tom Boy,
Crispian St. Peters,
The Men They Couldn't Hang,
Popol Vuh,
Dorothy Ashby,
The Shadows of Knight,
The Fall,
Section 25,
David McCallum,
Gian Franco Pienzio,
The Durutti Column,
Stereo Dub,
The Offenders,
Gerry Rafferty,
Underground Resistance,
Outsiders,
Lebanon Hanover,
Quadrant,
Crime,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
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.