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 Ecuador and from Bologna.
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 Delhi and Woodstock.
I'm losing my edge to the art-school Taipei 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Big Daddy Kane to the grime kids.
I played it at Trash.
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 Howard Jones. All the underground hits.
All The J.B.'s tracks. I heard you have a vinyl of every Al Stewart record on German import.
I heard that you have a white label of every seminal funk 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 an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Inner City record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Men They Couldn't Hang,
Cabaret Voltaire,
L. Decosne,
Moby Grape,
Gang Gang Dance,
cv313,
Black Pus,
David Bowie,
Massinfluence,
Neu!,
Lucky Dragons,
Motorama,
Jeru the Damaja,
Magazine,
James Chance & The Contortions,
The Last Poets,
The Sonics,
Derrick May,
Deutsch Amerikanische Freundschaft,
Camouflage,
Magma,
Babytalk,
Orchestral Manoeuvres in the Dark,
Byron Stingily,
Nation of Ulysses,
JFA,
Siouxsie and the Banshees,
Ohio Players,
Radio Birdman,
Au Pairs,
Alice Coltrane,
The Young Rascals,
The Slackers,
Bizarre Inc.,
Flipper,
Notorious BIG live in Amsterdam,
the Slits,
EPMD,
Parry Music,
Deakin,
Minny Pops,
Sarah Menescal,
Aloha Tigers,
Smog,
Sight & Sound,
Fela Kuti,
The Misunderstood,
Wasted Youth,
Bang on a Can All-Stars,
Lou Reed & Metallica,
Duran Duran,
Dorothy Ashby,
48th St. Collective,
Art Ensemble Of Chicago,
Eric Dolphy,
Red Lorry Yellow Lorry,
Royal Trux,
The Associates,
John Holt,
The Blackbyrds,
Warsaw,
Patti Smith,
Charles Mingus, Charles Mingus, Charles Mingus, Charles Mingus.
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.