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 Slovenia and from Stockholm.
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 Calgary and Lagos.
I'm losing my edge to the art-school Edmonton 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 oboe sounds with much patience.
I was there when Tom Verlaine 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 Mars to the grunge kids.
I played it at the Hacienda.
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 Masters at Work. All the underground hits.
All The Human League tracks. I heard you have a vinyl of every Rekid record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a One Last Wish record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nirvana,
Lou Reed & John Cale,
Erasure,
Bush Tetras,
The J.B.'s,
The Doobie Brothers,
Scrapy,
The American Breed,
R.M.O.,
La Düsseldorf,
The Knickerbockers,
Junior Murvin,
Grandmaster Flash,
Gil Scott Heron,
Jeff Lynne,
Carl Craig,
Peter & Gordon,
Avey Tare,
Symarip,
Johnny Osbourne,
Sexual Harrassment,
Angry Samoans,
Beasts of Bourbon,
Funky Four + One,
A Flock of Seagulls,
Pole,
Eve St. Jones,
The Fortunes,
The Buckinghams,
Teenage Jesus and the Jerks,
D'Angelo,
Andrew Hill,
Judy Mowatt,
Selector Dub Narcotic,
ABC,
Eden Ahbez,
Man Parrish,
Second Layer,
Tomorrow,
The Star Department,
Rosa Yemen,
Bad Manners,
Louis and Bebe Barron,
Pete Rock & C.L. Smooth,
Jacques Brel,
Manfred Mann's Earth Band,
Notorious BIG live in Amsterdam,
Terrestrial Tones,
Television,
Schoolly D,
Sunsets and Hearts,
The Chocolate Watch Band,
The Human League,
Black Flag,
Cheater Slicks,
Camouflage,
Nik Kershaw,
U.S. Maple,
Juan Atkins,
Harpers Bizarre,
Laurel Aitken,
Rites of Spring, Rites of Spring, Rites of Spring, Rites of Spring.
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.