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 Egypt and from Madrid.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Calgary and Bremen.
I'm losing my edge to the art-school Shanghai 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 chamberlin 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 Little Man to the funk kids.
I played it at the Crocodile.
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 The West Coast Pop Art Experimental Band. All the underground hits.
All Dorothy Ashby 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 dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Jacques Brel record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Parrish,
Sun City Girls,
Vladislav Delay,
The Human League,
Throbbing Gristle,
Jerry's Kids,
DJ Sneak,
The Trojans,
The Modern Lovers,
The Happenings,
Byron Stingily,
Derrick Morgan,
Art Ensemble Of Chicago,
Lee Hazlewood,
Maurizio,
Scan 7,
The Golliwogs,
Cal Tjader,
The Star Department,
Public Image Ltd.,
Absolute Body Control,
Marc Almond,
Can,
Model 500,
Alison Limerick,
Man Eating Sloth,
Tropical Tobacco,
A Certain Ratio,
The Five Americans,
Bobby Womack,
Neil Young & Crazy Horse,
Lizzy Mercier Descloux,
The Fuzztones,
Jesper Dahlbäck,
The American Breed,
The Sound,
Joe Smooth,
Slave,
Eric Copeland,
Nick Fraelich,
Pussy Galore,
Delon & Dalcan,
Mark Hollis,
Johnny Clarke,
Gary Puckett & The Union Gap,
Ponytail,
Jesper Dahlback,
Ice-T,
Barclay James Harvest,
8 Eyed Spy,
Rahsaan Roland Kirk,
Donny Hathaway,
Agent Orange,
Crime,
Spandau Ballet,
The Dave Clark Five,
Rekid,
The J.B.'s,
Steve Hackett,
Delta 5,
The Litter,
Unrelated Segments,
The Tremeloes, The Tremeloes, The Tremeloes, The Tremeloes.
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.