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 Botswana and from Lagos.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Edmonton and Spokane.
I'm losing my edge to the art-school Milan 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 snare 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 the Soft Cell to the electroclash 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 Marc Romboy vs. Booka Shade. All the underground hits.
All Don Cherry tracks. I heard you have a vinyl of every Hardrive 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 '50s cut and another box set from the '80s.
I hear you're buying a 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The West Coast Pop Art Experimental Band,
Los Fastidios,
The Doors,
Oneida,
Circle Jerks,
Young Marble Giants,
Bootsy's Rubber Band,
Reagan Youth,
Zapp,
The Young Rascals,
R.M.O.,
Judy Mowatt,
Sandy B,
Bill Wells,
Larry & the Blue Notes,
It's A Beautiful Day,
Soul II Soul,
Funky Four + One,
Danielle Patucci,
The Red Krayola,
Ludus,
Deadbeat,
Blossom Toes,
Roy Ayers Ubiquity,
Radio Birdman,
the Bar-Kays,
Red Lorry Yellow Lorry,
The Monochrome Set,
The Leaves,
The Busters,
The Techniques,
Sticky Fingaz feat. Raekwon,
Grandmaster Flash and the Furious Five,
Scrapy,
Flash Fearless,
Gang of Four,
B.T. Express,
These Immortal Souls,
Au Pairs,
Gang Gang Dance,
The Chocolate Watch Band,
Liaisons Dangereuses,
The Sound,
Tears for Fears,
Joe Finger,
Gang Green,
Jeff Mills,
Animal Collective,
The Velvet Underground,
Jandek,
Tim Buckley,
John Coltrane,
Darondo,
Amon Düül,
Spandau Ballet,
Hashim,
Freddie Wadling,
Eric Dolphy,
Skarface,
Little Man,
Altered Images,
Lebanon Hanover,
Kayak, Kayak, Kayak, Kayak.
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.