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 Argentina and from Edmonton.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Stockholm and Seoul.
I'm losing my edge to the art-school Glasgow 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 linndrum 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 Symarip to the punk 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 Minnie Riperton. All the underground hits.
All The Residents tracks. I heard you have a vinyl of every Lalann 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 '90s.
I hear you're buying a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Rakim record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Christie,
The Mighty Diamonds,
Orchestral Manoeuvres in the Dark,
Art Ensemble Of Chicago,
Eurythmics,
Lalann,
Röyhkä ja Rättö ja Lehtisalo,
the Bar-Kays,
John Lydon,
Dr. Dre and Snoop Doggy Dog,
The Doobie Brothers,
The Doors,
The Move,
KRS-One,
Mary Jane Girls,
Can,
The Fugs,
Arthur Verocai,
the Normal,
Ultramagnetic MC's,
Bootsy's Rubber Band,
Carl Craig,
Althea and Donna,
Colin Newman,
Chrome,
Icehouse,
Steve Hackett,
World's Most,
Minutemen,
Dawn Penn,
Skriet,
Electric Prunes,
Big Daddy Kane,
Barry Ungar,
Kurtis Blow,
Ten City,
Vainqueur,
The Gun Club,
Rod Modell,
Yazoo,
Lee Hazlewood,
Chris & Cosey,
Parry Music,
Mark Hollis,
Gil Scott-Heron and Jamie xx,
Black Pus,
a-ha,
The Golliwogs,
Aswad,
Ken Boothe,
10cc,
The Sound,
Lizzy Mercier Descloux,
Black Flag,
Rotary Connection,
The Slits,
Marine Girls,
Desert Stars,
EPMD,
The Cramps,
Joe Smooth,
Index,
Swell Maps,
Skarface, Skarface, Skarface, Skarface.
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.