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 Sudan and from Beijing.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Paris and Lagos.
I'm losing my edge to the art-school Beijing 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 clarinet 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 Cheater Slicks to the funk kids.
I played it at the Crocodile.
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 Excepter. All the underground hits.
All Technova tracks. I heard you have a vinyl of every Ultimate Spinach record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat record.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boredoms,
Jeru the Damaja,
Au Pairs,
Symarip,
Tres Demented,
Hardrive,
Gil Scott-Heron & Brian Jackson,
Sly & The Family Stone,
Justin Hinds & The Dominoes,
X-Ray Spex,
Byron Stingily,
Big Daddy Kane,
Roxette,
Make Up,
Gabor Szabo,
Mad Mike,
Glambeats Corp.,
Pole,
The Litter,
Gil Scott-Heron and Jamie xx,
Desert Stars,
Mark Hollis,
Sun City Girls,
Roxy Music,
Lebanon Hanover,
Y Pants,
E-Dancer,
David Bowie,
Roger Hodgson,
the Swans,
Blossom Toes,
Eric B and Rakim,
Boz Scaggs,
Nation of Ulysses,
Lower 48,
Underground Resistance,
Bauhaus,
Crispy Ambulance,
Henry Cow,
Pussy Galore,
Sight & Sound,
Darondo,
Cameo,
Model 500,
Rowland S Howard / Lydia Lunch,
Animal Collective,
the Human League,
Kings Of Tomorrow,
Eddi Front,
The Young Rascals,
Eric Copeland,
Schoolly D,
Rhythm & Sound,
Moby Grape,
Yellowson,
Deutsch Amerikanische Freundschaft,
Sugar Minott,
Little Man,
Flamin' Groovies,
Ohio Players,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.