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 Burkina and from Madrid.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Tokyo and Mexico City.
I'm losing my edge to the art-school Lyon 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 synthesizer sounds with much patience.
I was there when Donald Fagen 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 Johnny Osbourne to the grunge kids.
I played it at Trash.
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 Super Lover Cee & Casanova Rud. All the underground hits.
All Gang Starr tracks. I heard you have a vinyl of every Scratch Acid record on German import.
I heard that you have a white label of every seminal punk 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 rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Star Department record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stockholm Monsters,
The American Breed,
R.M.O.,
Jacob Miller,
Wire,
Franke,
Public Enemy,
Theoretical Girls,
Accadde A,
Gil Scott Heron,
Ornette Coleman,
Pantytec,
Oneida,
The Standells,
The Sonics,
Eli Mardock,
Derrick May,
Rakim,
James White and The Blacks,
Peter Gordon & Love of Life Orchestra,
The Beau Brummels,
Kauko Röyhkä ja Narttu,
Grandmaster Flash and the Furious Five,
Scan 7,
Wasted Youth,
Audionom,
Matthew Halsall,
Byron Stingily,
Flash Fearless,
Delon & Dalcan,
Ronnie Foster,
E-Dancer,
Cymande,
Jesper Dahlback,
The Wake,
Janne Schatter,
Siglo XX,
Oppenheimer Analysis,
David Axelrod,
Scott Walker + Sunn O))),
Excepter,
DNA,
Lalann,
The Gories,
Half Japanese,
Roger Hodgson,
The Golliwogs,
The Flesh Eaters,
The Saints,
Ultravox,
Marmalade,
Flamin' Groovies,
Red Lorry Yellow Lorry,
Brass Construction,
8 Eyed Spy,
Mr. Review,
Bill Near,
Pylon,
Bobby Hutcherson,
Dennis Brown,
Los Fastidios,
Prince Buster, Prince Buster, Prince Buster, Prince Buster.
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.