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 St Lucia and from Tokyo.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1961 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Cairo.
I'm losing my edge to the art-school Spokane 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 synthesizer 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 the Swans 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 Deutsch Amerikanische Freundschaft. All the underground hits.
All The Human League tracks. I heard you have a vinyl of every The Fire Engines 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 '80s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cameo,
Ajijia Myrayebe,
Ultra Naté,
The Star Department,
Monks,
The American Breed,
Nick Fraelich,
The Fire Engines,
Rod Modell,
Shoche,
Pulsallama,
Mary Jane Girls,
Kas Product,
The Red Krayola,
The Grass Roots,
Pantytec,
Marcia Griffiths,
Joe Smooth,
Peter Gordon & Love of Life Orchestra,
The Sisters of Mercy,
Junior Murvin,
Barbara Tucker,
Yusef Lateef,
Intrusion,
Quadrant,
Slave,
Liaisons Dangereuses,
Desert Stars,
Anakelly,
Heavy D & The Boyz,
Smog,
Excepter,
Make Up,
The Dave Clark Five,
Hardrive,
Eyeless In Gaza,
Crooked Eye,
Boredoms,
Fort Wilson Riot,
Strawberry Alarm Clock,
Japan,
Moby Grape,
The Slits,
Mantronix,
Grandmaster Flash and the Furious Five,
Saccharine Trust,
Derrick May,
R.M.O.,
The Move,
Mission of Burma,
Magma,
The Invisible,
The Music Machine,
The Cowsills,
Moebius,
Grandmaster Flash,
Blossom Toes,
Harpers Bizarre,
the Slits,
Rakim,
Camouflage, Camouflage, Camouflage, Camouflage.
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.