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 Bahrain and from Madrid.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Glasgow and Milan.
I'm losing my edge to the art-school Lille 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 chamberlin 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 Monks to the electroclash kids.
I played it at the 40 Watt.
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 Los Fastidios. All the underground hits.
All The Walker Brothers tracks. I heard you have a vinyl of every The Saints record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Glenn Branca record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Saccharine Trust,
Rapeman,
The Red Krayola,
Quando Quango,
New York Dolls,
Thompson Twins,
Faust,
In Retrospect,
James Chance & The Contortions,
The Martian,
Cluster,
Manfred Mann's Earth Band,
The Sound,
Soul II Soul,
Marcia Griffiths,
Graham Central Station,
Gichy Dan,
Main Source,
Toni Rubio,
Kevin Saunderson,
Gian Franco Pienzio,
Roger Hodgson,
Roy Ayers,
Alison Limerick,
Country Teasers,
The Associates,
Babytalk,
the Normal,
Kerri Chandler,
Kauko Röyhkä ja Narttu,
Neil Young,
Bronski Beat,
Barbara Tucker,
Donny Hathaway,
Kool G Rap & DJ Polo,
Reuben Wilson,
Hashim,
Chris Corsano,
Sad Lovers and Giants,
The Techniques,
The Seeds,
Sam Rivers,
Loose Ends,
Sandy B,
Girls At Our Best!,
John Coltrane,
Bad Manners,
Arthur Verocai,
Slave,
Flipper,
Masters at Work,
Swell Maps,
The Real Kids,
Lebanon Hanover,
Visionaries,LMNO, T- Love & Iriscience,
Ralphi Rosario,
The Cure,
Lonnie Liston Smith,
The Moleskins,
Stetsasonic, Stetsasonic, Stetsasonic, Stetsasonic.
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.