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 Dominican Republic and from Lagos.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1975.
I'm losing my edge.
To all the kids in Bremen and Halifax.
I'm losing my edge to the art-school Portland 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 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 Pole to the dance 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 Grauzone. All the underground hits.
All Newcleus tracks. I heard you have a vinyl of every Ossler 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 '70s cut and another box set from the '80s.
I hear you're buying a sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Buzzcocks record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
KRS-One,
Tomorrow,
Rhythim Is Rhythim,
AZ,
Ice-T,
Jerry's Kids,
Nils Olav,
One Last Wish,
Louis and Bebe Barron,
B.T. Express,
Janne Schatter,
The Moleskins,
Lizzy Mercier Descloux,
ABBA,
Justin Hinds & The Dominoes,
Beasts of Bourbon,
Easy Going,
Red Lorry Yellow Lorry,
Spoonie Gee,
Alphaville,
FM Einheit,
John Holt,
The Wake,
Harmonia,
Negative Approach,
Neil Young & Crazy Horse,
Pussy Galore,
Faust,
Cal Tjader,
Pylon,
Josef K,
Wire,
Röyhkä ja Rättö ja Lehtisalo,
Deepchord,
Althea and Donna,
Livin' Joy,
Yaz,
Kool G Rap & DJ Polo,
Avey Tare & Kría Brekkan,
Reagan Youth,
The Star Department,
Hot Snakes,
Arab on Radar,
Slave,
Roy Ayers,
Soft Machine,
Neu!,
Sexual Harrassment,
Faraquet,
the Fania All-Stars,
DeepChord presents Echospace,
Aswad,
Juan Atkins,
the Germs,
Jeff Lynne,
Gang Gang Dance,
Gil Scott-Heron & Brian Jackson,
Bob Dylan,
James Chance & The Contortions,
Kool Moe Dee,
Lungfish,
Roy Ayers Ubiquity,
Hasil Adkins, Hasil Adkins, Hasil Adkins, Hasil Adkins.
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.