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 Chad and from Salvador.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Delhi and Bremen.
I'm losing my edge to the art-school Philadelphia 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 synthesizer sounds with much patience.
I was there when Donald Fagen 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 D'Angelo to the punk kids.
I played it at the Astoria.
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 Visage. All the underground hits.
All The Velvet Underground tracks. I heard you have a vinyl of every The Count Five 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 '70s cut and another box set from the '70s.
I hear you're buying a snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed & Metallica record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mo-Dettes,
Bill Near,
Larry & the Blue Notes,
Easy Going,
Bush Tetras,
Japan,
Jesper Dahlback,
Albert Ayler,
Drive Like Jehu,
Excepter,
Yusef Lateef,
Loose Ends,
Deepchord,
The Standells,
Ten City,
The Toasters,
Rakim,
Harmonia,
Donald Byrd,
It's A Beautiful Day,
Nation of Ulysses,
Gil Scott-Heron & Brian Jackson,
Barrington Levy,
Mark Hollis,
Amon Düül,
A Certain Ratio,
Pole,
The Jesus and Mary Chain,
Bobby Womack,
Cameo,
The Misunderstood,
Johnny Osbourne,
E-Dancer,
Girls At Our Best!,
Cecil Taylor,
The Electric Prunes,
Tropical Tobacco,
Dr. Dre and Snoop Doggy Dog,
The Skatalites,
The Real Kids,
Eli Mardock,
Fear,
The New Christs,
June Days,
Godley & Creme,
Jesper Dahlbäck,
Agent Orange,
Black Pus,
Minor Threat,
Simply Red,
Sun Ra Arkestra,
The Blues Magoos,
Heaven 17,
The United States of America,
The Fire Engines,
DJ Style,
Monks,
The Angels of Light,
The Barracudas,
Darondo,
Notorious Big And Bone Thugs,
Mary Jane Girls,
Suburban Knight, Suburban Knight, Suburban Knight, Suburban Knight.
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.