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 Montenegro and from Lille.
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 1974.
I'm losing my edge.
To all the kids in Jakarta and Mexico City.
I'm losing my edge to the art-school Johannesburg 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 1976 at the first Chic practice in a loft in New York.
I was working on the 808 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 Johnny Osbourne to the electroclash kids.
I played it at Cafe Wha.
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 a-ha. All the underground hits.
All The Fugs tracks. I heard you have a vinyl of every Super Lover Cee & Casanova Rud 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 '70s 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 MC5 record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
Lee Hazlewood,
Peter & Gordon,
Manfred Mann's Earth Band,
Joe Smooth,
Graham Central Station,
Ultimate Spinach,
Scientists,
Grey Daturas,
Dead Boys,
Wire,
World's Most,
Rosa Yemen,
Tres Demented,
Dennis Brown,
Richard Hell and the Voidoids,
Spandau Ballet,
Derrick May,
The Gun Club,
The Leaves,
Eddi Front,
The Techniques,
Pylon,
Swans,
The Doobie Brothers,
Ituana,
Agitation Free,
Colin Newman,
Henry Cow,
Minor Threat,
Kaleidoscope,
Amon Düül,
Shuggie Otis,
Brick,
Marc Romboy vs. Booka Shade,
One Last Wish,
Archie Shepp,
Public Enemy,
The Selecter,
Art Ensemble Of Chicago,
Moby Grape,
Scott Walker,
Japan,
Aural Exciters,
Rhythim Is Rhythim,
Parry Music,
Youth Brigade,
Nirvana,
Ronan,
Joy Division,
Desert Stars,
Larry & the Blue Notes,
Tim Buckley,
The Pop Group,
Nils Olav,
Sonic Youth,
Gian Franco Pienzio,
Johnny Clarke,
the Human League,
The Count Five,
The Sisters of Mercy, The Sisters of Mercy, The Sisters of Mercy, The Sisters of Mercy.
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.