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 Nicaragua and from Sao Paulo.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Spokane and Bologna.
I'm losing my edge to the art-school Manchester 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 1973 at the first Television practice in a loft in New York.
I was working on the marimba 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 FM Einheit to the grime 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 Divine Comedy. All the underground hits.
All Skaos tracks. I heard you have a vinyl of every Peter Gordon & Love of Life Orchestra record on German import.
I heard that you have a white label of every seminal rap 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 clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Rakim record.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Intrusion,
the Soft Cell,
Animal Collective,
Traffic Nightmare,
Bluetip,
Captain Beefheart & His Magic Band,
Bobby Hutcherson,
Ken Boothe,
Trumans Water,
Liaisons Dangereuses,
Adolescents,
The West Coast Pop Art Experimental Band,
Zapp,
Theoretical Girls,
Scott Walker,
Excepter,
Barclay James Harvest,
It's A Beautiful Day,
Frankie Knuckles,
Harpers Bizarre,
Grey Daturas,
Outsiders,
The Gories,
Pharaoh Sanders and the Fire Engines,
The Peanut Butter Conspiracy,
The Associates,
cv313,
Moss Icon,
Gichy Dan,
Quadrant,
Kool Moe Dee,
Colin Newman,
Pulsallama,
The Monochrome Set,
Cal Tjader,
Buzzcocks,
The Walker Brothers,
Lakeside,
Masters at Work,
Pole,
Chris Corsano,
Technova,
Wasted Youth,
the Bar-Kays,
Isaac Hayes,
The Human League,
Tres Demented,
Judy Mowatt,
Fluxion,
UT,
Boogie Down Productions,
Super Lover Cee & Casanova Rud,
DJ Style,
Amon Düül,
Bobby Sherman,
Sad Lovers and Giants,
The Invisible,
Fifty Foot Hose,
H. Thieme,
Siouxsie and the Banshees,
Shoche,
Simply Red, Simply Red, Simply Red, Simply Red.
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.