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 Mexico and from Philadelphia.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Mexico City and Manchester.
I'm losing my edge to the art-school Woodstock 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 harpsichord sounds with much patience.
I was there when Holger Czukay 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 Monks 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 Black Pus. All the underground hits.
All Scion tracks. I heard you have a vinyl of every Bootsy's Rubber Band record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a rhodes and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Ultra Naté record.
I hear that you and your band have sold your clarinet and bought a güiro.
I hear that you and your band have sold your güiro and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roxette,
Skaos,
Dorothy Ashby,
Pulsallama,
the Soft Cell,
Country Teasers,
Rotary Connection,
Index,
Erasure,
Fatback Band,
Sunsets and Hearts,
Lee Hazlewood,
Sight & Sound,
The Alarm Clocks,
The New Christs,
Gang Starr,
Theoretical Girls,
World's Most,
Aswad,
John Lydon,
The Doobie Brothers,
Brass Construction,
Don Cherry,
Fifty Foot Hose,
Siglo XX,
Eric B and Rakim,
Dave Gahan,
Gil Scott-Heron & Brian Jackson,
Girls At Our Best!,
Mr. Review,
The Raincoats,
Pole,
Clear Light,
Joensuu 1685,
Y Pants,
CMW,
The Young Rascals,
Andrew Hill,
the Bar-Kays,
Ash Ra Tempel,
Essential Logic,
The Offenders,
Hoover,
Main Source,
Toni Rubio,
Franke,
Grey Daturas,
James Chance & The Contortions,
The Kinks,
The Velvet Underground,
Peter & Gordon,
Derrick May,
Richard Hell and the Voidoids,
Peter and Kerry,
Gabor Szabo,
Faraquet,
The Slits,
Junior Murvin,
Tim Buckley,
Morten Harket,
Gary Puckett & The Union Gap,
Traffic Nightmare,
DeepChord presents Echospace,
Tres Demented, Tres Demented, Tres Demented, Tres Demented.
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.