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 Haiti and from Lagos.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Bologna and Stockholm.
I'm losing my edge to the art-school Milan 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 theremin 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 Urselle to the rap kids.
I played it at the Spitz.
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 Radiohead. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every Lyres record on German import.
I heard that you have a white label of every seminal dance 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 an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Visage record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Wells,
Kas Product,
Gerry Rafferty,
Tim Buckley,
Kenny Larkin,
T.S.O.L.,
Goldenarms,
The Searchers,
A Certain Ratio,
Marmalade,
Marvin Gaye,
The Tremeloes,
Ajijia Myrayebe,
Donald Byrd,
Bobbi Humphrey,
MDC,
Todd Rundgren,
Sun Ra,
Ultravox,
Lou Christie,
Bronski Beat,
Sonny Sharrock,
The Leaves,
Captain Beefheart & His Magic Band,
World's Most,
Dennis Brown,
Essential Logic,
Depeche Mode,
Letta Mbulu,
Robert Hood,
Interpol,
Derrick May,
Tomorrow,
Nik Kershaw,
Barry Ungar,
Nico,
Joe Smooth,
Sparks,
Absolute Body Control,
the Association,
Cameo,
Godley & Creme,
Sticky Fingaz feat. Raekwon,
Boredoms,
Camouflage,
Kango’s Stein Massive,
U.S. Maple,
Eric Copeland,
Justin Hinds & The Dominoes,
Rod Modell,
Jacques Brel,
Dawn Penn,
Notorious BIG live in Amsterdam,
Subhumans,
Crash Course in Science,
the Soft Cell,
Metal Thangz,
Lou Reed,
Eurythmics,
Quando Quango,
David Bowie,
Soul Sonic Force,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.