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 Lille.
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 1975.
I'm losing my edge.
To all the kids in Winnipeg and Milan.
I'm losing my edge to the art-school Mexico City 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 oboe sounds with much patience.
I was there when Robert Palmer 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 Man Parrish to the dance 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 Masters at Work. All the underground hits.
All The Divine Comedy tracks. I heard you have a vinyl of every Warren Ellis record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a U.S. Maple record.
I hear that you and your band have sold your snare and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mantronix,
Lee Hazlewood,
Rakim,
Tomorrow,
T.S.O.L.,
Section 25,
Pulsallama,
Infiniti,
Ultravox,
X-102,
48th St. Collective,
The Modern Lovers,
Gerry Rafferty,
H. Thieme,
Sexual Harrassment,
Notorious Big And Bone Thugs,
Harpers Bizarre,
Fifty Foot Hose,
The Doobie Brothers,
The Techniques,
Donny Hathaway,
Grandmaster Flash,
Eyeless In Gaza,
Arthur Verocai,
Chris Corsano,
Flash Fearless,
Circle Jerks,
Sugar Minott,
The Star Department,
Camron Feat. Jay Z And Juelz,
The Invisible,
Marmalade,
The Cramps,
Robert Wyatt,
Eric Dolphy,
Joe Smooth,
Scrapy,
Harmonia,
The Litter,
Avey Tare & Kría Brekkan,
Super Lover Cee & Casanova Rud,
Dark Day,
Little Man,
Angels of Light & Akron/Family,
10cc,
Tim Buckley,
AZ,
Morten Harket,
Frankie Knuckles,
Lucky Dragons,
The Fall,
Monks,
Prince Buster,
Dual Sessions,
Nils Olav,
Basic Channel,
Schoolly D,
Louis and Bebe Barron,
Pierre Henry,
Stockholm Monsters, Stockholm Monsters, Stockholm Monsters, Stockholm Monsters.
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.