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 Seychelles and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1974.
I'm losing my edge.
To all the kids in Shanghai and Winnipeg.
I'm losing my edge to the art-school Hong Kong 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 chamberlin 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 Zero Boys to the grime kids.
I played it at the Crocodile.
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 Ituana. All the underground hits.
All Visage tracks. I heard you have a vinyl of every Excepter record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Lizzy Mercier Descloux record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marine Girls,
The Barracudas,
Half Japanese,
Black Sheep,
Masters at Work,
Moss Icon,
D'Angelo,
The Tremeloes,
The Durutti Column,
Traffic Nightmare,
The Litter,
Rufus Thomas,
Eve St. Jones,
Quantec,
Skarface,
Joe Smooth,
Inner City,
Moby Grape,
The Modern Lovers,
The Fugs,
Khruangbin,
The Dead C,
Scion,
Fifty Foot Hose,
Isaac Hayes,
Bauhaus,
Qualms,
Rites of Spring,
The Dirtbombs,
Scratch Acid,
Black Bananas,
Justin Hinds & The Dominoes,
Pagans,
Minny Pops,
Lou Reed & Metallica,
Dave Gahan,
Fad Gadget,
Neil Young,
Index,
The Skatalites,
Nico,
Yellowson,
Public Image Ltd.,
Eric Copeland,
Unrelated Segments,
Smog,
Intrusion,
KRS-One,
The Standells,
JFA,
Rapeman,
Charles Mingus,
Carl Craig,
Avey Tare & Kría Brekkan,
Peter Gordon & Love of Life Orchestra,
Neu!,
Hoover,
Cabaret Voltaire,
The Kinks,
Ultra Naté,
K-Klass, K-Klass, K-Klass, K-Klass.
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.