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 Copenhagen.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Toronto and Sao Paulo.
I'm losing my edge to the art-school Taipei 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 mellotron 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 DNA to the rock 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 Spoonie Gee. All the underground hits.
All Boogie Down Productions tracks. I heard you have a vinyl of every Kurtis Blow record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Mo-Dettes record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fortunes,
Spandau Ballet,
Be Bop Deluxe,
The Star Department,
Joensuu 1685,
Buzzcocks,
Leonard Cohen,
Todd Terry,
The Slits,
The Real Kids,
Dawn Penn,
Orchestral Manoeuvres in the Dark,
Dead Boys,
Robert Görl,
The Raincoats,
Rhythm & Sound,
Livin' Joy,
Teenage Jesus and the Jerks,
Lalann,
Vladislav Delay,
Subhumans,
Nation of Ulysses,
Scientists,
Louis and Bebe Barron,
The Monks,
Silicon Teens,
Television Personalities,
The Modern Lovers,
Von Mondo,
The Seeds,
The Trojans,
Model 500,
Liliput,
Skriet,
Bronski Beat,
Heaven 17,
Jimmy McGriff,
Zapp,
The Associates,
Sixth Finger,
Ultravox,
X-Ray Spex,
The Count Five,
Kool Moe Dee,
Tears for Fears,
The Mighty Diamonds,
The Doobie Brothers,
John Holt,
The Golliwogs,
Delon & Dalcan,
ABC,
Oblivians,
Fear,
Swell Maps,
Sällskapet,
Matthew Bourne,
New York Dolls,
Judy Mowatt,
Barry Ungar,
Second Layer, Second Layer, Second Layer, Second Layer.
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.