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 Copenhagen.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Milan and Bremen.
I'm losing my edge to the art-school Tehran 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the mellotron sounds with much patience.
I was there when David Bowie 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 United States of America to the disco kids.
I played it at the Crocodile.
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 Steve Hackett. All the underground hits.
All Boogie Down Productions tracks. I heard you have a vinyl of every Chris & Cosey record on German import.
I heard that you have a white label of every seminal jazz 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 chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Roxy Music record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eurythmics,
Monolake,
The Offenders,
Jerry Gold Smith,
The Birthday Party,
The Mummies,
Bobby Sherman,
Al Stewart,
Trumans Water,
Quadrant,
The Martian,
Talk Talk,
Hoover,
Cameo,
Roy Ayers,
The Divine Comedy,
Curtis Mayfield,
The Dead C,
PIL,
The Doobie Brothers,
Mo-Dettes,
Stockholm Monsters,
Todd Rundgren,
Black Sheep,
Terrestrial Tones,
Bizarre Inc.,
Sad Lovers and Giants,
Robert Wyatt,
Rowland S Howard / Lydia Lunch,
Kool Moe Dee,
Minnie Riperton,
The Grass Roots,
Rakim,
Connie Case,
Kevin Saunderson,
Scion,
Sex Pistols,
Qualms,
DeepChord presents Echospace,
Teenage Jesus and the Jerks,
Funkadelic,
Visage,
The Remains,
Lindisfarne,
Strawberry Alarm Clock,
Electric Light Orchestra,
Roy Ayers Ubiquity,
Newcleus,
The Star Department,
Mars,
Ultimate Spinach,
Sam Rivers,
Traffic Nightmare,
Hardrive,
The Litter,
Pete Rock & C.L. Smooth,
James White and The Blacks,
Von Mondo,
The Gap Band,
Rosa Yemen,
Lightning Bolt,
Oneida,
Skarface, Skarface, Skarface, Skarface.
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.