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 Georgia and from Manchester.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Houston and Madrid.
I'm losing my edge to the art-school Johannesburg 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the chamberlin 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 B.T. Express to the electroclash 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 X-101. All the underground hits.
All Soul II Soul tracks. I heard you have a vinyl of every Strawberry Alarm Clock record on German import.
I heard that you have a white label of every seminal punk 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 synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Faraquet record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Smiths,
Spoonie Gee,
The Wake,
Wings,
Isaac Hayes,
The Five Americans,
Swans,
Byron Stingily,
Strawberry Alarm Clock,
Judy Mowatt,
Toni Rubio,
Marc Almond,
Quadrant,
Grandmaster Flash,
Tomorrow,
Youth Brigade,
Man Eating Sloth,
Essential Logic,
La Düsseldorf,
Khruangbin,
Derrick Morgan,
Ohio Players,
Red Lorry Yellow Lorry,
Heaven 17,
Los Fastidios,
Jacques Brel,
JFA,
T. Rex,
The Doors,
The Chocolate Watch Band,
Theoretical Girls,
The Modern Lovers,
The Sound,
Wally Richardson,
The Mighty Diamonds,
Louis and Bebe Barron,
Boz Scaggs,
Main Source,
Scan 7,
The Pretty Things,
Bang on a Can All-Stars,
Reuben Wilson,
The Slits,
Lebanon Hanover,
the Normal,
Section 25,
Chris & Cosey,
Simply Red,
Beasts of Bourbon,
Ultimate Spinach,
Interpol,
Lalo Schifrin,
DJ Style,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Yazoo,
Pet Shop Boys,
Desert Stars,
The Searchers,
Easy Going,
L. Decosne,
The Pop Group, The Pop Group, The Pop Group, The Pop Group.
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.