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 Botswana and from Portland.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1973.
I'm losing my edge.
To all the kids in Lille and Edmonton.
I'm losing my edge to the art-school Stockholm 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 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 Connie Case to the jazz 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 Walker Brothers. All the underground hits.
All The Sound tracks. I heard you have a vinyl of every Throbbing Gristle record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Kas Product record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heavy D & The Boyz,
Urselle,
Television,
London Community Gospel Choir,
Cabaret Voltaire,
Agitation Free,
Byron Stingily,
New Order,
Lou Christie,
Ultimate Spinach,
Lucky Dragons,
Infiniti,
Eden Ahbez,
Matthew Bourne,
Public Image Ltd.,
DeepChord presents Echospace,
The Last Poets,
Jesper Dahlback,
Barry Ungar,
Sällskapet,
The Gladiators,
R.M.O.,
Sparks,
Sexual Harrassment,
Interpol,
Sixth Finger,
Connie Case,
Echospace,
Pantaleimon,
This Heat,
Jerry Gold Smith,
Joe Smooth,
Black Sheep,
Clear Light,
Flash Fearless,
Man Parrish,
Quadrant,
The Cure,
Public Enemy,
Warsaw,
Mars,
The Fire Engines,
Bobby Womack,
Isaac Hayes,
Whodini,
Michelle Simonal,
Crooked Eye,
Super Lover Cee & Casanova Rud,
Sun City Girls,
Sly & The Family Stone,
The Names,
Drexciya,
Trumans Water,
Parry Music,
Harmonia,
Tropical Tobacco,
Lebanon Hanover,
Crash Course in Science,
Spoonie Gee,
Rahsaan Roland Kirk,
Peter and Kerry,
Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines.
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.