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 Brazil and from Manila.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Manchester and Mumbai.
I'm losing my edge to the art-school Accra 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 sitar sounds with much patience.
I was there when Captain Beefheart 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 Doobie Brothers to the punk kids.
I played it at the Hacienda.
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 Maurizio. All the underground hits.
All Richard Hell and the Voidoids tracks. I heard you have a vinyl of every Alphaville 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 '80s.
I hear you're buying a theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Enemy,
Robert Görl,
Suicide,
Ituana,
Pole,
The Electric Prunes,
Unrelated Segments,
Soulsonic Force,
The Kinks,
Super Lover Cee & Casanova Rud,
E-Dancer,
Ultravox,
Eric Copeland,
Mary Jane Girls,
L. Decosne,
Brick,
Gabor Szabo,
Fat Boys,
Scion,
Yusef Lateef,
The Associates,
The Last Poets,
Bobbi Humphrey,
The Doobie Brothers,
Marine Girls,
Scientists,
John Foxx,
Chris & Cosey,
AZ,
The Move,
Ken Boothe,
Quadrant,
Swans,
The Mummies,
Stockholm Monsters,
Cymande,
Ten City,
Scott Walker,
Eve St. Jones,
Justin Hinds & The Dominoes,
Bronski Beat,
Selector Dub Narcotic,
The Royal Family And The Poor,
Procol Harum,
Echospace,
Althea and Donna,
Amon Düül,
Wings,
The Birthday Party,
The Beau Brummels,
Gichy Dan,
Sound Behaviour,
The Blues Magoos,
Harmonia,
Ultra Naté,
Alton Ellis,
Silicon Teens,
MDC,
Index,
Joey Negro,
Magazine,
The American Breed, The American Breed, The American Breed, The American Breed.
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.