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 Turkey and from Winnipeg.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Johannesburg and Mumbai.
I'm losing my edge to the art-school Madrid 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 1984 at the first Arcadia practice in a loft in London.
I was working on the chamberlin 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 Peter & Gordon to the rock 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 Crooked Eye. All the underground hits.
All Sex Pistols tracks. I heard you have a vinyl of every the Soft Cell record on German import.
I heard that you have a white label of every seminal rap 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 spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Janne Schatter,
Dr. Dre and Snoop Doggy Dog,
Cluster,
Kings Of Tomorrow,
Kas Product,
Scientists,
Chris & Cosey,
Depeche Mode,
Fad Gadget,
Masters at Work,
Joyce Sims,
Patti Smith,
Jesper Dahlback,
Graham Central Station,
Nick Fraelich,
Aaron Thompson,
Bauhaus,
Susan Cadogan,
The Raincoats,
The Birthday Party,
Oneida,
Althea and Donna,
Vainqueur,
Barclay James Harvest,
Tim Buckley,
T. Rex,
The Electric Prunes,
Cecil Taylor,
Audionom,
The Cure,
Nik Kershaw,
Spandau Ballet,
Lizzy Mercier Descloux,
Stereo Dub,
cv313,
Avey Tare's Slasher Flicks,
China Crisis,
Talk Talk,
Clear Light,
The Busters,
Average White Band,
the Normal,
Joensuu 1685,
Black Pus,
Tom Boy,
Cheater Slicks,
Quantec,
Whodini,
Notorious BIG live in Amsterdam,
Livin' Joy,
The Names,
The Neon Judgement,
Peter & Gordon,
Richard Hell and the Voidoids,
Be Bop Deluxe,
Cabaret Voltaire,
Lyres,
X-102,
The Smiths,
Y Pants,
Tres Demented,
London Community Gospel Choir,
Sex Pistols, Sex Pistols, Sex Pistols, Sex Pistols.
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.