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 Norway and from Glasgow.
But I was there.
I was there in 1973.
I was there at the first Television 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 1968 to 1973.
I'm losing my edge.
To all the kids in Stockholm and Copenhagen.
I'm losing my edge to the art-school Columbus 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 güiro sounds with much patience.
I was there when Nile Rodgers 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 Girls At Our Best! to the rock kids.
I played it at the Astoria.
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 Eve St. Jones. All the underground hits.
All K-Klass tracks. I heard you have a vinyl of every Niagra record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a theremin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DJ Sneak,
Bad Manners,
The Fire Engines,
Anakelly,
Angels of Light & Akron/Family,
Interpol,
Rufus Thomas,
Ten City,
The Flesh Eaters,
Gong,
The Gap Band,
Johnny Osbourne,
Shuggie Otis,
Hasil Adkins,
Pylon,
Dark Day,
Jandek,
Roy Ayers,
Clear Light,
X-Ray Spex,
Wings,
The Shadows of Knight,
Minnie Riperton,
Jacques Brel,
Icehouse,
The Alarm Clocks,
Ultravox,
Jeff Lynne,
Gastr Del Sol,
The Names,
Sparks,
The Golliwogs,
Bob Dylan,
The Fortunes,
Robert Görl,
Sixth Finger,
Bill Wells,
Hashim,
Nation of Ulysses,
Harpers Bizarre,
Robert Wyatt,
The Dave Clark Five,
Lyres,
Bootsy Collins,
One Last Wish,
Depeche Mode,
Quadrant,
Ice-T,
Fort Wilson Riot,
Crispy Ambulance,
Basic Channel,
The Barracudas,
Fugazi,
The Move,
Godley & Creme,
Bluetip,
T.S.O.L.,
Surgeon,
Derrick Morgan,
Public Image Ltd.,
Vladislav Delay,
Subhumans,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
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.