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 Japan and from Shanghai.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Bologna and Shanghai.
I'm losing my edge to the art-school Stockholm 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 mellotron sounds with much patience.
I was there when Michael McDonald 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 Leaves to the rock 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 Half Japanese. All the underground hits.
All OOIOO tracks. I heard you have a vinyl of every Ultimate Spinach record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a 808 and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Fugs record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marvin Gaye,
Aloha Tigers,
Mission of Burma,
Joey Negro,
Popol Vuh,
Avey Tare & Kría Brekkan,
Qualms,
Althea and Donna,
T. Rex,
Skriet,
The Fire Engines,
Spoonie Gee,
The Doors,
Fad Gadget,
Negative Approach,
Pantytec,
Avey Tare's Slasher Flicks,
Quando Quango,
Pierre Henry,
Electric Prunes,
Radio Birdman,
Throbbing Gristle,
Ultimate Spinach,
Depeche Mode,
The Move,
Neu!,
Technova,
Röyhkä ja Rättö ja Lehtisalo,
Quadrant,
Blancmange,
Scan 7,
Be Bop Deluxe,
Circle Jerks,
Crime,
Don Cherry,
Sun Ra Arkestra,
Grey Daturas,
The United States of America,
Steve Hackett,
Sugar Minott,
Suicide,
Slave,
Vaughan Mason & Crew,
Pharoah Sanders,
Faraquet,
Dark Day,
Spandau Ballet,
Flipper,
the Slits,
Cabaret Voltaire,
The Blackbyrds,
Eric B and Rakim,
F. McDonald,
Soulsonic Force,
Niagra,
Urselle,
Blossom Toes,
Lalo Schifrin,
L. Decosne,
Brick,
Pole,
Freddie Wadling,
Marine Girls,
Robert Hood, Robert Hood, Robert Hood, Robert Hood.
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.