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 Swaziland and from Edmonton.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 Shanghai and Stockholm.
I'm losing my edge to the art-school Cairo 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 1977 at the first Mistral practice in a loft in Amsterdam.
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 Nation of Ulysses to the jazz kids.
I played it at CBGB's.
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 Marvin Gaye. All the underground hits.
All Grey Daturas tracks. I heard you have a vinyl of every Stiv Bators 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 '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Visage record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cecil Taylor,
Simply Red,
The Residents,
Joey Negro,
Marmalade,
Deepchord,
Johnny Clarke,
Justin Hinds & The Dominoes,
Be Bop Deluxe,
The New Christs,
Public Enemy,
Accadde A,
Patti Smith,
Bronski Beat,
The Leaves,
The Neon Judgement,
Marcia Griffiths,
Section 25,
Malaria!,
The Cowsills,
Alison Limerick,
Talk Talk,
Susan Cadogan,
Rod Modell,
The Tremeloes,
AZ,
The Five Americans,
Zapp,
Little Man,
Fela Kuti,
Bill Wells,
The Saints,
Kings Of Tomorrow,
Kas Product,
Model 500,
Bob Dylan,
Jeru the Damaja,
Anakelly,
The Detroit Cobras,
Organ,
Warsaw,
The Beau Brummels,
Ash Ra Tempel,
a-ha,
Country Teasers,
The West Coast Pop Art Experimental Band,
the Human League,
Roy Ayers,
Jeff Lynne,
Siouxsie and the Banshees,
Crime,
Röyhkä ja Rättö ja Lehtisalo,
Wings,
Neil Young & Crazy Horse,
One Last Wish,
Strawberry Alarm Clock,
New Order,
Los Fastidios,
ABBA,
Judy Mowatt, Judy Mowatt, Judy Mowatt, Judy Mowatt.
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.