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 Burundi and from New York.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1975.
I'm losing my edge.
To all the kids in Milan and Johannesburg.
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 1978 at the first Visage practice in a loft in London.
I was working on the chamberlin 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 The United States of America to the disco 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 London Community Gospel Choir. All the underground hits.
All The Toasters tracks. I heard you have a vinyl of every Dark Day 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 '90s.
I hear you're buying a harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Eden Ahbez record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cowsills,
Sugar Minott,
Bobbi Humphrey,
Drive Like Jehu,
Lalo Schifrin,
Nick Fraelich,
Gil Scott-Heron and Jamie xx,
Subhumans,
Grandmaster Flash,
ABC,
Leonard Cohen,
DeepChord presents Echospace,
Faust,
Sun City Girls,
Aaron Thompson,
John Holt,
Captain Beefheart & His Magic Band,
Nik Kershaw,
Janne Schatter,
The Offenders,
Jeff Lynne,
Essential Logic,
Stereo Dub,
The Residents,
Dawn Penn,
Unrelated Segments,
The Cure,
Scott Walker + Sunn O))),
Ornette Coleman,
Crispy Ambulance,
Gerry Rafferty,
Yaz,
Thee Headcoats,
Lee Hazlewood,
Ten City,
Second Layer,
Marc Romboy vs. Booka Shade,
Ponytail,
Pharoah Sanders,
Sister Nancy,
Dual Sessions,
Faraquet,
The Fall,
The Techniques,
Johnny Clarke,
The Flesh Eaters,
Lebanon Hanover,
Amazonics,
The Tremeloes,
Pere Ubu,
Ajijia Myrayebe,
Jacob Miller,
The Sisters of Mercy,
Black Sheep,
Electric Prunes,
Terry Callier,
Reuben Wilson,
Ultramagnetic MC's,
Swans,
Scratch Acid,
Duran Duran,
Brothers Johnson, Brothers Johnson, Brothers Johnson, Brothers Johnson.
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.