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 Sweden and from Tokyo.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Seoul and Portland.
I'm losing my edge to the art-school Mexico City 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 arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Deadbeat to the jazz kids.
I played it at the 40 Watt.
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 Josef K. All the underground hits.
All Sarah Menescal tracks. I heard you have a vinyl of every It's A Beautiful Day record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Isaac Hayes record.
I hear that you and your band have sold your sitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Delon & Dalcan,
Sexual Harrassment,
X-Ray Spex,
Henry Cow,
Sun Ra Arkestra,
Gang Starr,
Erasure,
Skarface,
Marcia Griffiths,
The Invisible,
Spoonie Gee,
John Holt,
John Lydon,
The Litter,
The Dave Clark Five,
Radio Birdman,
Slick Rick,
The Sound,
Siglo XX,
Rhythm & Sound,
Public Image Ltd.,
Dorothy Ashby,
Chris & Cosey,
Lakeside,
Q and Not U,
Slave,
Brand Nubian,
Swell Maps,
Wolf Eyes,
Flipper,
Lyres,
Glambeats Corp.,
James White and The Blacks,
Scott Walker,
The Last Poets,
Soft Cell,
The Slits,
Rowland S Howard / Lydia Lunch,
Mo-Dettes,
Art Ensemble Of Chicago,
Livin' Joy,
Major Organ And The Adding Machine,
Moebius,
June of 44,
The Motions,
Lalo Schifrin,
Scott Walker + Sunn O))),
Joey Negro,
Ultravox,
The Gap Band,
Boz Scaggs,
Fort Wilson Riot,
The Monochrome Set,
Black Pus,
The Leaves,
Groovy Waters,
Gil Scott-Heron & Brian Jackson,
the Sonics,
Erykah Badu,
Harpers Bizarre,
Nation of Ulysses,
The Vogues,
Janne Schatter, Janne Schatter, Janne Schatter, Janne Schatter.
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.