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 Mauritius and from Manchester.
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 1973.
I'm losing my edge.
To all the kids in Philadelphia and Accra.
I'm losing my edge to the art-school Bologna 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 guitar sounds with much patience.
I was there when Lou Reed 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 E-Dancer 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 Alphaville. All the underground hits.
All Scion tracks. I heard you have a vinyl of every The West Coast Pop Art Experimental Band record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Yazoo record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faraquet,
Pylon,
Mission of Burma,
Fatback Band,
Rahsaan Roland Kirk,
Blossom Toes,
Kevin Saunderson,
the Association,
Interpol,
Brass Construction,
Anakelly,
Spandau Ballet,
Sonny Sharrock,
The Gun Club,
The Invisible,
Deakin,
Dorothy Ashby,
Minor Threat,
Ultra Naté,
The Golliwogs,
Joensuu 1685,
Make Up,
London Community Gospel Choir,
Surgeon,
Beasts of Bourbon,
The Knickerbockers,
The Real Kids,
The Royal Family And The Poor,
Sly & The Family Stone,
Bobbi Humphrey,
The Stooges,
Cymande,
Bush Tetras,
Soft Machine,
Oneida,
Niagra,
Robert Wyatt,
Clear Light,
Avey Tare,
The Dave Clark Five,
Sonic Youth,
It's A Beautiful Day,
Ultramagnetic MC's,
KRS-One,
Sun City Girls,
Arcadia,
Sparks,
The Searchers,
Ituana,
Fad Gadget,
Scratch Acid,
Super Lover Cee & Casanova Rud,
Lindisfarne,
Pantaleimon,
Outsiders,
Soul II Soul,
Erasure,
Eyeless In Gaza,
Michelle Simonal, Michelle Simonal, Michelle Simonal, Michelle Simonal.
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.