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 Russia and from Woodstock.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Johannesburg.
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 1973 at the first Television practice in a loft in New York.
I was working on the linndrum sounds with much patience.
I was there when Michael McDonald 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 Kerrie Biddell to the grime kids.
I played it at Cafe Wha.
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-102. All the underground hits.
All Marvin Gaye tracks. I heard you have a vinyl of every Wolf Eyes record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Joy Division record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Almond,
Section 25,
Davy DMX,
The Gories,
X-Ray Spex,
Kenny Larkin,
Saccharine Trust,
Joe Finger,
Peter Gordon & Love of Life Orchestra,
Dorothy Ashby,
Massinfluence,
Frankie Knuckles,
Lyres,
The Moleskins,
The Searchers,
The Beau Brummels,
Groovy Waters,
Tomorrow,
Todd Rundgren,
James White and The Blacks,
Circle Jerks,
Sam Rivers,
The Dirtbombs,
Carl Craig,
The Star Department,
Index,
EPMD,
The Music Machine,
Newcleus,
X-102,
Traffic Nightmare,
Blossom Toes,
The Wake,
Camouflage,
The Evens,
Dawn Penn,
Ultravox,
Moss Icon,
Flash Fearless,
The Move,
The Selecter,
Bang On A Can,
Matthew Halsall,
LL Cool J,
Dark Day,
The Names,
The Monks,
E-Dancer,
Vainqueur,
Pylon,
Basic Channel,
Rowland S Howard / Lydia Lunch,
Soft Cell,
Amon Düül II,
Wally Richardson,
Man Eating Sloth,
Fad Gadget,
Deutsch Amerikanische Freundschaft,
Andrew Ashong & Theo Parrish,
Bill Wells,
The Flesh Eaters,
Freddie Wadling,
The Human League,
Crooked Eye, Crooked Eye, Crooked Eye, Crooked Eye.
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.