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 Ethiopia and from Bologna.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Winnipeg and Seoul.
I'm losing my edge to the art-school Sao Paulo 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 1976 at the first Chic practice in a loft in New York.
I was working on the linndrum sounds with much patience.
I was there when Lou Reed 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 Theoretical Girls to the funk 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 Audionom. All the underground hits.
All Red Lorry Yellow Lorry tracks. I heard you have a vinyl of every Masters at Work 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 '70s.
I hear you're buying a theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Massinfluence record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arthur Verocai,
the Swans,
Rowland S Howard / Lydia Lunch,
Bill Wells,
Duran Duran,
Slick Rick,
Scion,
The Evens,
Dave Gahan,
Andrew Hill,
Heaven 17,
John Coltrane,
X-102,
Bill Near,
Marmalade,
Simply Red,
Gastr Del Sol,
Clear Light,
DJ Style,
Lucky Dragons,
Excepter,
Bush Tetras,
Rotary Connection,
Todd Rundgren,
JFA,
Jacques Brel,
The Fire Engines,
Nick Cave & The Bad Seeds,
The Leaves,
Index,
Quantec,
La Düsseldorf,
Arcadia,
Sister Nancy,
Magazine,
The Doors,
Roy Ayers,
Vainqueur,
Thompson Twins,
Rod Modell,
Pet Shop Boys,
Faust,
June Days,
Ultra Naté,
Thee Headcoats,
D'Angelo,
Spandau Ballet,
Ten City,
The Names,
Interpol,
Crispian St. Peters,
Sam Rivers,
Byron Stingily,
The Cowsills,
Ultimate Spinach,
Matthew Bourne,
Anthony Braxton,
Moby Grape,
Beasts of Bourbon,
Pantaleimon,
Symarip,
Ohio Players,
Warsaw, Warsaw, Warsaw, Warsaw.
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.