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 Eritrea and from Winnipeg.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Spokane and Mumbai.
I'm losing my edge to the art-school Delhi 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 1978 at the first Visage practice in a loft in London.
I was working on the oboe 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 Soft Cell to the techno 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 Jesper Dahlback. All the underground hits.
All Angry Samoans tracks. I heard you have a vinyl of every Neu! 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 '60s cut and another box set from the '80s.
I hear you're buying a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a CMW record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
The Associates,
Rites of Spring,
Massinfluence,
Traffic Nightmare,
Bootsy Collins,
The Alarm Clocks,
The Jesus and Mary Chain,
The Martian,
Mission of Burma,
Graham Central Station,
Lower 48,
Amazonics,
Hoover,
Carl Craig,
The Gladiators,
Sällskapet,
ABBA,
48th St. Collective,
The Raincoats,
L. Decosne,
The Cure,
Wings,
Eyeless In Gaza,
Suburban Knight,
Manfred Mann's Earth Band,
Simply Red,
Tubeway Army,
Duran Duran,
The Residents,
Notorious BIG live in Amsterdam,
Funkadelic,
Wire,
Masters at Work,
World's Most,
The Doobie Brothers,
The Men They Couldn't Hang,
Eric Dolphy,
The Fall,
the Bar-Kays,
The Invisible,
Joey Negro,
Alison Limerick,
AZ,
Tom Boy,
A Certain Ratio,
Terrestrial Tones,
Robert Wyatt,
Don Cherry,
Banda Bassotti,
Basic Channel,
B.T. Express,
R.M.O.,
A Flock of Seagulls,
Kurtis Blow,
cv313,
Livin' Joy,
Jeff Mills,
Albert Ayler,
Deepchord,
Robert Hood,
Unrelated Segments, Unrelated Segments, Unrelated Segments, Unrelated Segments.
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.