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 Albania and from Stockholm.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Accra and Houston.
I'm losing my edge to the art-school Madrid 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 1978 at the first Visage practice in a loft in London.
I was working on the snare 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 The Beau Brummels to the crunk kids.
I played it at the Troubador.
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 Pagans. All the underground hits.
All Scion tracks. I heard you have a vinyl of every Sun City Girls 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 '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a DNA record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
CMW,
Ultramagnetic MC's,
Amon Düül,
Das Ding,
Monks,
Moebius,
Joe Finger,
Reuben Wilson,
Todd Terry,
Dorothy Ashby,
Janne Schatter,
Lee Hazlewood,
Heavy D & The Boyz,
Rosa Yemen,
Avey Tare's Slasher Flicks,
Lalo Schifrin,
Larry & the Blue Notes,
Alice Coltrane,
Babytalk,
The Barracudas,
Nirvana,
Oblivians,
Beasts of Bourbon,
Gastr Del Sol,
Peter Gordon & Love of Life Orchestra,
Cabaret Voltaire,
Fear,
Echospace,
Easy Going,
Wire,
Los Fastidios,
Robert Wyatt,
Rufus Thomas,
New York Dolls,
Richard Hell and the Voidoids,
Todd Rundgren,
The Young Rascals,
Young Marble Giants,
Gong,
Groovy Waters,
Half Japanese,
Fluxion,
Delon & Dalcan,
T.S.O.L.,
Arthur Verocai,
Qualms,
Faust,
Country Teasers,
Arcadia,
Ronan,
Lou Reed,
Metal Thangz,
Dennis Brown,
Panda Bear,
Fifty Foot Hose,
Parry Music,
Major Organ And The Adding Machine,
Nico,
Spoonie Gee,
Orchestral Manoeuvres in the Dark,
Kas Product,
Supertramp, Supertramp, Supertramp, Supertramp.
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.