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 Kiribati and from Salvador.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Spokane and Taipei.
I'm losing my edge to the art-school Lille 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the harpsichord 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 The Moleskins to the jazz kids.
I played it at the Hacienda.
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 Aaron Thompson. All the underground hits.
All Dual Sessions tracks. I heard you have a vinyl of every kango's stein massive 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 synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Television Personalities record.
I hear that you and your band have sold your güiro and bought a theremin.
I hear that you and your band have sold your theremin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Offenders,
Pharaoh Sanders and the Fire Engines,
La Düsseldorf,
Joy Division,
Matthew Bourne,
Visage,
Donny Hathaway,
Alison Limerick,
John Lydon,
The Detroit Cobras,
Warren Ellis,
The Vogues,
Little Man,
Ohio Players,
Donald Byrd,
Ash Ra Tempel,
Chris Corsano,
Gregory Isaacs,
Talk Talk,
Cymande,
the Slits,
Can,
Shoche,
Country Joe & The Fish,
Minnie Riperton,
Susan Cadogan,
Au Pairs,
Yellowson,
Neu!,
Minor Threat,
Ultimate Spinach,
Bob Dylan,
Danielle Patucci,
Livin' Joy,
Schoolly D,
The Searchers,
Mars,
Bootsy Collins,
Outsiders,
Y Pants,
Henry Cow,
Howard Jones,
Radiopuhelimet,
The Zeros,
Black Moon,
Pantytec,
Crash Course in Science,
the Soft Cell,
Magma,
Soul II Soul,
Pole,
Zapp,
the Sonics,
Brand Nubian,
Harpers Bizarre,
Marshall Jefferson,
Underground Resistance,
The Fugs,
the Human League,
Marmalade,
Young Marble Giants,
Larry & the Blue Notes,
Dead Boys, Dead Boys, Dead Boys, Dead Boys.
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.