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 Albania and from Calgary.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Delhi and Madrid.
I'm losing my edge to the art-school Calgary 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 linndrum 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 The Mighty Diamonds to the crunk kids.
I played it at the Astoria.
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 Erasure. All the underground hits.
All The Doobie Brothers tracks. I heard you have a vinyl of every F. McDonald 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 clarinet and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Star Department record.
I hear that you and your band have sold your snare and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crime,
Stiv Bators,
Barclay James Harvest,
Lakeside,
10cc,
The Residents,
Kevin Saunderson,
Japan,
Morten Harket,
Lyres,
Rites of Spring,
B.T. Express,
The Sound,
Audionom,
Bill Wells,
The Detroit Cobras,
Visage,
Silicon Teens,
Barry Ungar,
Monolake,
Neil Young,
MC5,
Kango’s Stein Massive,
Rahsaan Roland Kirk,
Leonard Cohen,
Lou Christie,
Justin Hinds & The Dominoes,
Terrestrial Tones,
Colin Newman,
The Beau Brummels,
Gil Scott-Heron & Brian Jackson,
The Shadows of Knight,
Flash Fearless,
The Barracudas,
Joensuu 1685,
Avey Tare & Kría Brekkan,
Sonic Youth,
Rekid,
Tears for Fears,
Nils Olav,
Carl Craig,
Pete Rock & C.L. Smooth,
Grey Daturas,
Black Moon,
The Remains,
Soulsonic Force,
Curtis Mayfield,
Danielle Patucci,
Babytalk,
Eurythmics,
James White and The Blacks,
John Foxx,
Patti Smith,
Crash Course in Science,
Siouxsie and the Banshees,
Country Joe & The Fish,
Joe Finger,
The Walker Brothers,
The Fire Engines,
Darondo,
The Pretty Things,
Kings Of Tomorrow,
Soft Machine,
The Seeds, The Seeds, The Seeds, The Seeds.
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.