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 Mauritius and from Portland.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Stockholm and Paris.
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 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 Lou Reed & Metallica to the techno 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 Lou Christie. All the underground hits.
All Red Lorry Yellow Lorry tracks. I heard you have a vinyl of every Rhythm & Sound record on German import.
I heard that you have a white label of every seminal dance 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 guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a John Coltrane record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Stooges,
David McCallum,
Juan Atkins,
Reagan Youth,
Swans,
Drive Like Jehu,
Henry Cow,
The Tremeloes,
Pantaleimon,
Selector Dub Narcotic,
The Remains,
Spandau Ballet,
The Saints,
Mission of Burma,
Sly & The Family Stone,
Camron Feat. Jay Z And Juelz,
Joey Negro,
The Index,
Glambeats Corp.,
Erasure,
Main Source,
Eric Copeland,
The Techniques,
Stereo Dub,
Altered Images,
Ludus,
Red Lorry Yellow Lorry,
Scientists,
Kenny Larkin,
The Star Department,
Vaughan Mason & Crew,
U.S. Maple,
The Music Machine,
Neu!,
Underground Resistance,
the Soft Cell,
Susan Cadogan,
The Doors,
The Zeros,
Alison Limerick,
The Searchers,
Echospace,
Grandmaster Flash,
Boz Scaggs,
Can,
Mad Mike,
Bobbi Humphrey,
Faust,
Pulsallama,
Jeff Mills,
Boogie Down Productions,
Bill Near,
10cc,
The Offenders,
Marmalade,
Sonic Youth,
David Bowie,
Black Pus,
Theoretical Girls,
Liaisons Dangereuses,
the Fania All-Stars,
UT, UT, UT, UT.
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.