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 Lyon.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Lagos and London.
I'm losing my edge to the art-school Stockholm 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 1978 at the first Visage practice in a loft in London.
I was working on the marimba 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 The Pop Group to the funk kids.
I played it at the 40 Watt.
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 David Axelrod. All the underground hits.
All The Blues Magoos tracks. I heard you have a vinyl of every Barclay James Harvest 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 '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a New Order record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lalo Schifrin,
Johnny Clarke,
Scott Walker,
Brass Construction,
The Last Poets,
Index,
China Crisis,
Lower 48,
Second Layer,
Be Bop Deluxe,
Ultimate Spinach,
Erasure,
Laurel Aitken,
Gichy Dan,
Adolescents,
Bob Dylan,
Smog,
Glenn Branca,
The Birthday Party,
Curtis Mayfield,
The Skatalites,
Andrew Hill,
The Fall,
Cymande,
Spoonie Gee,
The Buckinghams,
Niagra,
R.M.O.,
Pierre Henry,
Moby Grape,
Stiv Bators,
The Men They Couldn't Hang,
Jesper Dahlbäck,
Mad Mike,
Sam Rivers,
Wolf Eyes,
The Human League,
Swell Maps,
Grandmaster Flash and the Furious Five,
Duran Duran,
Youth Brigade,
Kango’s Stein Massive,
Absolute Body Control,
Louis and Bebe Barron,
Sexual Harrassment,
The Barracudas,
the Normal,
Au Pairs,
Rhythm & Sound,
The Moody Blues,
Blossom Toes,
Oppenheimer Analysis,
Ludus,
The Happenings,
Pete Rock & C.L. Smooth,
Popol Vuh,
Blancmange,
New York Dolls,
David McCallum,
The American Breed,
Bobby Byrd, Bobby Byrd, Bobby Byrd, Bobby Byrd.
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.