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 Monaco and from Sao Paulo.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Spokane and Mexico City.
I'm losing my edge to the art-school Lille 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the synthesizer 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 Lou Reed to the rock 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 The Martian. All the underground hits.
All The Pop Group tracks. I heard you have a vinyl of every Notorious BIG live in Amsterdam record on German import.
I heard that you have a white label of every seminal funk 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 rhodes and a harpsichord 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 marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Can,
The American Breed,
Lou Reed & Metallica,
Electric Prunes,
New York Dolls,
The United States of America,
the Human League,
The Sisters of Mercy,
Skriet,
Black Bananas,
Franke,
Piero Umiliani,
The Leaves,
Groovy Waters,
The Smiths,
Avey Tare & Kría Brekkan,
Gichy Dan,
Roger Hodgson,
Gastr Del Sol,
Chris Corsano,
Minnie Riperton,
The Seeds,
The Cure,
Bizarre Inc.,
Nirvana,
Gary Puckett & The Union Gap,
Rod Modell,
Gregory Isaacs,
Circle Jerks,
Monks,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Heavy D & The Boyz,
Mark Hollis,
Laurel Aitken,
Isaac Hayes,
Grandmaster Flash and the Furious Five,
Model 500,
Jawbox,
Lower 48,
Kurtis Blow,
Susan Cadogan,
Schoolly D,
The Red Krayola,
Henry Cow,
Drexciya,
Ken Boothe,
Lee Hazlewood,
Rotary Connection,
Kango’s Stein Massive,
Deutsch Amerikanische Freundschaft,
Rosa Yemen,
Ajijia Myrayebe,
Spandau Ballet,
Marc Almond,
The Fall,
Davy DMX,
The Index,
David Axelrod,
The Monochrome Set,
It's A Beautiful Day, It's A Beautiful Day, It's A Beautiful Day, It's A Beautiful Day.
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.