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 Azerbaijan and from Columbus.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Portland and Shanghai.
I'm losing my edge to the art-school Toronto 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the guitar 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 Alphaville to the techno kids.
I played it at CBGB's.
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 Ronnie Foster. All the underground hits.
All Eurythmics tracks. I heard you have a vinyl of every The Gladiators 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 '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Eric B and Rakim record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thee Headcoats,
Rites of Spring,
Roxy Music,
Skriet,
Davy DMX,
Babytalk,
DNA,
Rosa Yemen,
Black Bananas,
Bronski Beat,
Reuben Wilson,
Sixth Finger,
Ice-T,
Pierre Henry,
The Pop Group,
Grandmaster Flash and the Furious Five,
PIL,
Au Pairs,
Cameo,
Roger Hodgson,
Nils Olav,
Dawn Penn,
Agitation Free,
The J.B.'s,
CMW,
Kaleidoscope,
Interpol,
Circle Jerks,
Gian Franco Pienzio,
Kevin Saunderson,
Steve Hackett,
the Normal,
The Doors,
ABBA,
Half Japanese,
Robert Hood,
Sarah Menescal,
48th St. Collective,
Aural Exciters,
Main Source,
Sun Ra Arkestra,
X-101,
Pantytec,
Donald Byrd,
John Lydon,
R.M.O.,
ABC,
The Slits,
Black Flag,
Kenny Larkin,
Vaughan Mason & Crew,
Popol Vuh,
Throbbing Gristle,
Man Eating Sloth,
Maleditus Sound,
Can,
The Gun Club,
Dark Day,
The Busters,
Angels of Light & Akron/Family,
Eric Dolphy,
Clear Light,
Ash Ra Tempel,
The Index,
Matthew Bourne, Matthew Bourne, Matthew Bourne, Matthew Bourne.
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.