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 Mozambique and from Copenhagen.
But I was there.
I was there in 1973.
I was there at the first Television 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 1969 to 1973.
I'm losing my edge.
To all the kids in Toronto and Copenhagen.
I'm losing my edge to the art-school Houston 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 arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Martian to the techno 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 Pylon. All the underground hits.
All Kayak tracks. I heard you have a vinyl of every Pet Shop Boys record on German import.
I heard that you have a white label of every seminal crunk 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 guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Marshall Jefferson record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deakin,
Crispy Ambulance,
Shoche,
Accadde A,
Fear,
Scion,
Interpol,
Dave Gahan,
Eyeless In Gaza,
Gichy Dan,
Girls At Our Best!,
Los Fastidios,
X-101,
Barrington Levy,
Siouxsie and the Banshees,
Slick Rick,
Model 500,
Supertramp,
Dual Sessions,
Camron Feat. Memphis Bleek And Beenie Seigel,
Todd Rundgren,
Soft Cell,
Sun City Girls,
Flash Fearless,
Jacques Brel,
Franke,
L. Decosne,
The Modern Lovers,
Gil Scott-Heron and Jamie xx,
Minny Pops,
Maurizio,
Minnie Riperton,
Outsiders,
Terry Callier,
The Real Kids,
Pagans,
Mad Mike,
Black Pus,
David Bowie,
Guru Guru,
Lizzy Mercier Descloux,
Peter Gordon & Love of Life Orchestra,
OOIOO,
Joe Finger,
Sällskapet,
Pole,
Magazine,
Stereo Dub,
The Dave Clark Five,
Fad Gadget,
The Toasters,
Terrestrial Tones,
One Last Wish,
Andrew Hill,
Isaac Hayes,
Qualms,
Lyres,
Buzzcocks,
Babytalk,
Hashim,
Rakim, Rakim, Rakim, Rakim.
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.