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 London.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Tehran and Johannesburg.
I'm losing my edge to the art-school Glasgow 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the organ 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 Hardrive to the rap kids.
I played it at Cafe Wha.
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 The West Coast Pop Art Experimental Band. All the underground hits.
All Pierre Henry tracks. I heard you have a vinyl of every Barrington Levy 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 '80s cut and another box set from the '70s.
I hear you're buying a güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a La Düsseldorf record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moleskins,
John Holt,
Steve Hackett,
Magazine,
Sarah Menescal,
Nik Kershaw,
Slick Rick,
Notorious BIG live in Amsterdam,
Kayak,
Marmalade,
Groovy Waters,
Junior Murvin,
Red Lorry Yellow Lorry,
Panda Bear,
Mark Hollis,
Chris Corsano,
The Mighty Diamonds,
The Remains,
Banda Bassotti,
Ituana,
Sister Nancy,
Judy Mowatt,
Circle Jerks,
Stetsasonic,
The Doobie Brothers,
the Swans,
Cameo,
Electric Light Orchestra,
Strawberry Alarm Clock,
Lalann,
Talk Talk,
Japan,
Chris & Cosey,
Traffic Nightmare,
Johnny Osbourne,
Orchestral Manoeuvres in the Dark,
Terrestrial Tones,
Saccharine Trust,
Vladislav Delay,
Rotary Connection,
Johnny Clarke,
Gong,
The Cramps,
Anthony Braxton,
The Names,
Jandek,
Darondo,
Lindisfarne,
Jesper Dahlbäck,
Cheater Slicks,
LL Cool J,
Erykah Badu,
Peter & Gordon,
Gil Scott-Heron & Brian Jackson,
Soul Sonic Force,
Erasure,
Jacob Miller,
Amon Düül,
Hashim,
The Knickerbockers,
Crooked Eye,
Barbara Tucker,
UT, UT, UT, UT.
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.