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 Bulgaria and from Seoul.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1970.
I'm losing my edge.
To all the kids in Edmonton and London.
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 1976 at the first Chic practice in a loft in New York.
I was working on the clarinet 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 Stiv Bators to the rap kids.
I played it at the Roxy.
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 Ponytail. All the underground hits.
All Lonnie Liston Smith tracks. I heard you have a vinyl of every Soft Cell record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba 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?
Howard Jones,
The Alarm Clocks,
Richard Hell and the Voidoids,
Peter & Gordon,
The Leaves,
Neu!,
Icehouse,
Bobby Womack,
Althea and Donna,
Dual Sessions,
Anakelly,
Sexual Harrassment,
The Neon Judgement,
DJ Style,
Blossom Toes,
Kool G Rap & DJ Polo,
Avey Tare,
Vainqueur,
Grauzone,
Gang Gang Dance,
Sex Pistols,
The Offenders,
Bronski Beat,
Rowland S Howard / Lydia Lunch,
The Smoke,
Dave Gahan,
The Tremeloes,
Rhythim Is Rhythim,
Jacques Brel,
Marc Romboy vs. Booka Shade,
Zero Boys,
Ultimate Spinach,
Suburban Knight,
Interpol,
Liaisons Dangereuses,
Crispian St. Peters,
The Techniques,
Carl Craig,
The Wake,
Art Ensemble Of Chicago,
Matthew Halsall,
The Selecter,
Reagan Youth,
Scott Walker,
Johnny Osbourne,
Panda Bear,
Sunsets and Hearts,
The Cure,
World's Most,
Jeru the Damaja,
Los Fastidios,
Blake Baxter,
Kango’s Stein Massive,
8 Eyed Spy,
the Slits,
Roxette,
The Moleskins,
Radiohead,
Cabaret Voltaire,
Pharoah Sanders,
Negative Approach, Negative Approach, Negative Approach, Negative Approach.
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.