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 Korea North and from Milan.
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 1960 to 1977.
I'm losing my edge.
To all the kids in New York and Madrid.
I'm losing my edge to the art-school Stockholm 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 synthesizer sounds with much patience.
I was there when Robert Palmer 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 Trumans Water to the techno kids.
I played it at the Troubador.
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 Public Enemy. All the underground hits.
All Kayak tracks. I heard you have a vinyl of every Orchestral Manoeuvres in the Dark record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thinking Fellers Union Local 282,
Oppenheimer Analysis,
Arcadia,
U.S. Maple,
Crash Course in Science,
The Associates,
Mad Mike,
Wire,
Crime,
The Detroit Cobras,
Archie Shepp,
X-102,
The Smoke,
Television,
David McCallum,
The Searchers,
Kerri Chandler,
The Last Poets,
Agitation Free,
Hardrive,
Anthony Braxton,
Rekid,
The Dead C,
Judy Mowatt,
The Human League,
Barrington Levy,
Ornette Coleman,
Blancmange,
Gang Green,
Morten Harket,
Average White Band,
Selector Dub Narcotic,
Organ,
Harpers Bizarre,
Brass Construction,
Avey Tare,
MDC,
Easy Going,
Bobby Womack,
The Star Department,
Magazine,
Pagans,
Das Ding,
John Holt,
Tres Demented,
Make Up,
Alton Ellis,
Monolake,
Amon Düül II,
ABC,
Buzzcocks,
Dead Boys,
Susan Cadogan,
Ultramagnetic MC's,
Nick Cave & The Bad Seeds,
Unrelated Segments,
Colin Newman,
Jeff Lynne,
The Red Krayola,
Mark Hollis,
Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade.
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.