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 Lebanon and from Mexico City.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Salvador and Accra.
I'm losing my edge to the art-school Sao Paulo 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 1973 at the first Television practice in a loft in New York.
I was working on the clarinet 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 Terry Callier to the techno 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 Selector Dub Narcotic. All the underground hits.
All Suburban Knight tracks. I heard you have a vinyl of every The Pop Group 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 '80s cut and another box set from the '70s.
I hear you're buying a rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Roxy Music record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slick Rick,
Gang of Four,
Notorious Big And Bone Thugs,
Ten City,
The Velvet Underground,
the Association,
Sexual Harrassment,
Tropical Tobacco,
Public Enemy,
The Techniques,
The Dirtbombs,
Minnie Riperton,
Lindisfarne,
Henry Cow,
Organ,
Nation of Ulysses,
Gregory Isaacs,
Camouflage,
The Residents,
Lungfish,
Rekid,
Jerry Gold Smith,
The Litter,
Radio Birdman,
Ronan,
Roy Ayers,
Main Source,
The Saints,
Gong,
Lou Reed & John Cale,
The Gun Club,
The Golliwogs,
Cybotron,
Sun Ra Arkestra,
Ornette Coleman,
Newcleus,
R.M.O.,
Visage,
The Peanut Butter Conspiracy,
Radiopuhelimet,
Funkadelic,
Crime,
Eli Mardock,
Andrew Hill,
Groovy Waters,
Grauzone,
Richard Hell and the Voidoids,
Aaron Thompson,
Youth Brigade,
Avey Tare & Kría Brekkan,
Silicon Teens,
Michelle Simonal,
Country Joe & The Fish,
Warren Ellis,
Stiv Bators,
Ultra Naté,
Rufus Thomas,
Yellowson,
Kool G Rap & DJ Polo,
Yusef Lateef,
LL Cool J, LL Cool J, LL Cool J, LL Cool J.
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.