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 Barbados and from Spokane.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Edmonton and New York.
I'm losing my edge to the art-school Hong Kong 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the marimba 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 Amon Düül to the electroclash 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 Pantaleimon. All the underground hits.
All Grandmaster Flash tracks. I heard you have a vinyl of every Electric Prunes 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 '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Soft Machine record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
CMW,
Bauhaus,
Cameo,
Tubeway Army,
X-Ray Spex,
Fad Gadget,
Scott Walker,
Swans,
Rhythm & Sound,
Henry Cow,
Visage,
Minutemen,
The Saints,
Von Mondo,
The Dave Clark Five,
Art Ensemble Of Chicago,
Qualms,
Tropical Tobacco,
Grandmaster Flash,
The Gun Club,
The Move,
Minor Threat,
The Golliwogs,
Q and Not U,
Main Source,
Eric B and Rakim,
Rahsaan Roland Kirk,
Skarface,
10cc,
Model 500,
ABBA,
Scratch Acid,
Bad Manners,
Slave,
Severed Heads,
Infiniti,
The New Christs,
Larry & the Blue Notes,
JFA,
The Detroit Cobras,
Adolescents,
Das Ding,
Lalo Schifrin,
Dual Sessions,
The Jesus and Mary Chain,
Nas,
Gil Scott-Heron & Brian Jackson,
Duran Duran,
De La Soul & Jungle Brothers,
London Community Gospel Choir,
Camron Feat. Memphis Bleek And Beenie Seigel,
Delon & Dalcan,
Rosa Yemen,
Eddi Front,
Half Japanese,
Joe Finger,
Bootsy Collins,
David McCallum,
Graham Central Station,
John Lydon,
Sun City Girls, Sun City Girls, Sun City Girls, Sun City Girls.
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.