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 Palau and from Milan.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Tokyo and Winnipeg.
I'm losing my edge to the art-school Lyon 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 marimba sounds with much patience.
I was there when Lou Reed 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 Crooked Eye to the punk kids.
I played it at the Roxy.
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 Kango’s Stein Massive. All the underground hits.
All Adolescents tracks. I heard you have a vinyl of every Michelle Simonal 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 '80s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Graham Central Station,
Gabor Szabo,
Be Bop Deluxe,
Aswad,
Severed Heads,
Gregory Isaacs,
The Cure,
Sad Lovers and Giants,
Eve St. Jones,
Model 500,
This Heat,
Fear,
Masters at Work,
Guru Guru,
Jerry's Kids,
The Shadows of Knight,
Piero Umiliani,
The Toasters,
The Sound,
Fatback Band,
Underground Resistance,
Ludus,
Funkadelic,
Interpol,
Flash Fearless,
Fort Wilson Riot,
Eric B and Rakim,
Y Pants,
London Community Gospel Choir,
Subhumans,
Ultimate Spinach,
Surgeon,
Pole,
Roy Ayers,
T.S.O.L.,
Eric Dolphy,
Marcia Griffiths,
Ralphi Rosario,
Adolescents,
The Moody Blues,
Sonic Youth,
Black Pus,
Marshall Jefferson,
Ten City,
Scientists,
Spoonie Gee,
Sunsets and Hearts,
Ossler,
Maleditus Sound,
The Mojo Men,
David Bowie,
The Pretty Things,
Terror Squad Feat. Camron,
Simply Red,
Roy Ayers Ubiquity,
The Last Poets,
Gil Scott-Heron & Brian Jackson,
K-Klass,
Pere Ubu,
Todd Terry,
Easy Going,
The Human League,
June Days, June Days, June Days, June Days.
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.