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 Liechtenstein and from Madrid.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Philadelphia and Bologna.
I'm losing my edge to the art-school Johannesburg 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 harpsichord 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 10cc to the electroclash kids.
I played it at Trash.
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 Germs. All the underground hits.
All Unrelated Segments tracks. I heard you have a vinyl of every The Moleskins record on German import.
I heard that you have a white label of every seminal funk 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 spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed & John Cale record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
Pere Ubu,
Goldenarms,
Peter and Kerry,
The Tremeloes,
The Gladiators,
Funkadelic,
DJ Sneak,
Stereo Dub,
Joey Negro,
Saccharine Trust,
Deakin,
Faraquet,
Reuben Wilson,
CMW,
The Offenders,
Heavy D & The Boyz,
Bob Dylan,
The Shadows of Knight,
The Black Dice,
One Last Wish,
Motorama,
Main Source,
China Crisis,
The Standells,
Lalo Schifrin,
Fela Kuti,
X-Ray Spex,
Terrestrial Tones,
R.M.O.,
Mark Hollis,
Röyhkä ja Rättö ja Lehtisalo,
Matthew Halsall,
EPMD,
Mr. Review,
Dennis Brown,
Peter Gordon & Love of Life Orchestra,
Lou Christie,
Robert Wyatt,
Crime,
T.S.O.L.,
Chrome,
The Human League,
Rotary Connection,
The Five Americans,
Arab on Radar,
Judy Mowatt,
Minor Threat,
Marmalade,
Kevin Saunderson,
Joe Finger,
The Real Kids,
Magma,
Tubeway Army,
Pharaoh Sanders and the Fire Engines,
Brothers Johnson,
Thinking Fellers Union Local 282,
Spoonie Gee,
Radiopuhelimet,
Cameo,
Howard Jones,
Subhumans,
Mad Mike, Mad Mike, Mad Mike, Mad Mike.
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.