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 Mali and from Philadelphia.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Mexico City and Madrid.
I'm losing my edge to the art-school Paris 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the harpsichord 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 Ten City to the dance 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 Mission of Burma. All the underground hits.
All Moss Icon tracks. I heard you have a vinyl of every Nik Kershaw record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David McCallum,
Mars,
Tommy Roe,
the Human League,
Judy Mowatt,
Rekid,
Public Enemy,
E-Dancer,
Swell Maps,
Crash Course in Science,
F. McDonald,
Lonnie Liston Smith,
Bootsy's Rubber Band,
Jeru the Damaja,
Oblivians,
Tom Boy,
The New Christs,
A Certain Ratio,
Eli Mardock,
The Gories,
Royal Trux,
Skaos,
The Human League,
Vaughan Mason & Crew,
Derrick May,
Fluxion,
Hardrive,
Dead Boys,
Schoolly D,
Girls At Our Best!,
Teenage Jesus and the Jerks,
Fela Kuti,
Robert Hood,
Lightning Bolt,
Soft Cell,
The Shadows of Knight,
Morten Harket,
Panda Bear,
Liliput,
Susan Cadogan,
Desert Stars,
Beasts of Bourbon,
ABBA,
Liaisons Dangereuses,
The Kinks,
The Flesh Eaters,
Orchestral Manoeuvres in the Dark,
Aural Exciters,
Gabor Szabo,
The Doors,
Sun City Girls,
Radio Birdman,
The Skatalites,
Gian Franco Pienzio,
Tropical Tobacco,
The Dead C,
Max Romeo,
The Music Machine,
Slave,
Lower 48,
Sonny Sharrock,
Young Marble Giants, Young Marble Giants, Young Marble Giants, Young Marble Giants.
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.