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 Guatemala and from Cairo.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Bologna and Shanghai.
I'm losing my edge to the art-school Manila 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 1976 at the first Chic practice in a loft in New York.
I was working on the 808 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 Stetsasonic to the rock kids.
I played it at the 40 Watt.
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 Los Fastidios. All the underground hits.
All Monolake tracks. I heard you have a vinyl of every Eli Mardock record on German import.
I heard that you have a white label of every seminal rap 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 spring reverb and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Brick record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Donald Byrd,
Camron Feat. Memphis Bleek And Beenie Seigel,
Pere Ubu,
Urselle,
Robert Görl,
Visionaries,LMNO, T- Love & Iriscience,
Fad Gadget,
The Five Americans,
Minnie Riperton,
Bill Near,
Blake Baxter,
Yellowson,
Isaac Hayes,
Drive Like Jehu,
Nico,
The Count Five,
Monks,
Wally Richardson,
The American Breed,
Panda Bear,
Barrington Levy,
Fifty Foot Hose,
10cc,
A Certain Ratio,
Section 25,
Dorothy Ashby,
Faust,
Bauhaus,
Sällskapet,
Avey Tare & Kría Brekkan,
The Sonics,
Amazonics,
Desert Stars,
Public Enemy,
Deadbeat,
Pantaleimon,
Jeff Mills,
Crash Course in Science,
Moss Icon,
Eyeless In Gaza,
Warsaw,
Neu!,
Fear,
David McCallum,
Ralphi Rosario,
Rekid,
The United States of America,
Janne Schatter,
Gregory Isaacs,
Sarah Menescal,
Heaven 17,
Wighnomy Brothers & Robag Wruhme,
Deepchord,
Roy Ayers Ubiquity,
Steve Hackett,
The Vogues,
Spandau Ballet,
Dead Boys,
The Remains,
Andrew Ashong & Theo Parrish,
Soul II Soul,
Soft Cell,
The Golliwogs,
The Sound, The Sound, The Sound, The Sound.
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.