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 Finland and from Mexico City.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Calgary and Calgary.
I'm losing my edge to the art-school New York 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 synthesizer sounds with much patience.
I was there when Michael McDonald 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 Andrew Ashong & Theo Parrish to the dance kids.
I played it at the Astoria.
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 Roxette. All the underground hits.
All Rites of Spring tracks. I heard you have a vinyl of every Gang Gang Dance 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 '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Bill Wells record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Beasts of Bourbon,
Judy Mowatt,
Monks,
Soulsonic Force,
Quantec,
Eurythmics,
Can,
Funky Four + One,
Spandau Ballet,
Avey Tare,
Banda Bassotti,
Sight & Sound,
E-Dancer,
Sonny Sharrock,
Sam Rivers,
Unrelated Segments,
Eric Copeland,
Lightning Bolt,
The Dave Clark Five,
Marmalade,
Magma,
Ohio Players,
AZ,
Wighnomy Brothers & Robag Wruhme,
Bang On A Can,
Mantronix,
The Fuzztones,
Kurtis Blow,
Pussy Galore,
Duran Duran,
The Move,
Marc Almond,
Moby Grape,
Wasted Youth,
Susan Cadogan,
Todd Terry,
Andrew Ashong & Theo Parrish,
Magazine,
The Pop Group,
B.T. Express,
Thinking Fellers Union Local 282,
Jacques Brel,
Groovy Waters,
The Knickerbockers,
Rapeman,
Lalann,
Jawbox,
Buzzcocks,
MC5,
The Grass Roots,
Inner City,
Faraquet,
Minnie Riperton,
Bob Dylan,
Lebanon Hanover,
Con Funk Shun,
The United States of America,
Television,
The Gladiators,
Brick,
Grandmaster Flash,
Bobby Womack,
Bush Tetras,
The Five Americans,
The Count Five, The Count Five, The Count Five, The Count Five.
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.