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 Ghana and from Sao Paulo.
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 1972.
I'm losing my edge.
To all the kids in Edmonton and Lyon.
I'm losing my edge to the art-school Hong Kong 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the 808 sounds with much patience.
I was there when Nile Rodgers 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 Grandmaster Flash to the disco 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 Eli Mardock. All the underground hits.
All Man Eating Sloth tracks. I heard you have a vinyl of every The Raincoats 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 '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Eyeless In Gaza 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?
X-102,
Thompson Twins,
Harry Pussy,
Crispian St. Peters,
Japan,
DJ Style,
The Index,
Roy Ayers,
Absolute Body Control,
A Flock of Seagulls,
Saccharine Trust,
The Evens,
Sight & Sound,
The Gories,
Gang Green,
The Count Five,
Soft Cell,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Wings,
Ronnie Foster,
The Monochrome Set,
the Normal,
Nick Fraelich,
Massinfluence,
The Blues Magoos,
The Music Machine,
Rufus Thomas,
Lonnie Liston Smith,
Marc Almond,
Alphaville,
The West Coast Pop Art Experimental Band,
The Slits,
Crime,
Letta Mbulu,
London Community Gospel Choir,
Model 500,
Section 25,
James White and The Blacks,
Roger Hodgson,
Drive Like Jehu,
Bad Manners,
Joyce Sims,
Lightning Bolt,
Selector Dub Narcotic,
Mad Mike,
Loose Ends,
Marc Romboy vs. Booka Shade,
cv313,
Robert Hood,
One Last Wish,
The Jesus and Mary Chain,
The Invisible,
Make Up,
Robert Wyatt,
The Standells,
The Fire Engines,
Excepter,
Skriet,
Johnny Osbourne,
Minny Pops,
Matthew Bourne,
Glambeats Corp., Glambeats Corp., Glambeats Corp., Glambeats Corp..
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.