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 Togo and from Milan.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Lyon and Tokyo.
I'm losing my edge to the art-school Spokane 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 Soft Boys practice in a loft in Cambridge.
I was working on the synthesizer 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 Lonnie Liston Smith to the rock kids.
I played it at the Astoria.
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 Eddi Front. All the underground hits.
All The Walker Brothers tracks. I heard you have a vinyl of every Von Mondo record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a theremin 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 chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glambeats Corp.,
Ronan,
Avey Tare's Slasher Flicks,
Mr. Review,
Sparks,
the Slits,
John Lydon,
The Fire Engines,
Sun City Girls,
Skaos,
B.T. Express,
Neu!,
the Germs,
Crash Course in Science,
Camberwell Now,
Robert Görl,
X-102,
Young Marble Giants,
Godley & Creme,
Maleditus Sound,
Eric B and Rakim,
The Velvet Underground,
Severed Heads,
Bill Wells,
Suburban Knight,
Peter & Gordon,
Tommy Roe,
Crime,
Circle Jerks,
James Chance & The Contortions,
John Cale,
Barrington Levy,
Derrick May,
The Selecter,
Bauhaus,
Simply Red,
Supertramp,
The Red Krayola,
Fatback Band,
Boz Scaggs,
Ten City,
Faust,
The Gladiators,
Brand Nubian,
kango's stein massive,
Franke,
David Axelrod,
Average White Band,
Pantytec,
Deutsch Amerikanische Freundschaft,
June of 44,
The Residents,
Kool G Rap & DJ Polo,
Au Pairs,
Spoonie Gee,
The Dirtbombs,
the Fania All-Stars,
Wighnomy Brothers & Robag Wruhme,
Lower 48,
Marvin Gaye,
The Litter,
Drive Like Jehu,
Kerri Chandler, Kerri Chandler, Kerri Chandler, Kerri Chandler.
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.