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 Cape Verde and from Woodstock.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Lyon and Lagos.
I'm losing my edge to the art-school Bremen 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 snare sounds with much patience.
I was there when Holger Czukay 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 Be Bop Deluxe to the crunk kids.
I played it at the Crocodile.
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 Easy Going. All the underground hits.
All Niagra tracks. I heard you have a vinyl of every Girls At Our Best! 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 '90s.
I hear you're buying a güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Warsaw record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maurizio,
The Blackbyrds,
Fatback Band,
The United States of America,
Peter Gordon & Love of Life Orchestra,
Ultra Naté,
Ossler,
Bootsy's Rubber Band,
Sister Nancy,
Robert Wyatt,
The Kinks,
The Walker Brothers,
Sad Lovers and Giants,
Camron Feat. Memphis Bleek And Beenie Seigel,
EPMD,
Organ,
Maleditus Sound,
Minor Threat,
Max Romeo,
John Cale,
Aural Exciters,
Nation of Ulysses,
Urselle,
Absolute Body Control,
Bizarre Inc.,
UT,
Masters at Work,
Be Bop Deluxe,
Can,
Crime,
Lalann,
Harpers Bizarre,
John Holt,
Pete Rock & C.L. Smooth,
Bobbi Humphrey,
Easy Going,
Black Bananas,
Stetsasonic,
The Red Krayola,
Pierre Henry,
Gabor Szabo,
Half Japanese,
La Düsseldorf,
Drive Like Jehu,
Davy DMX,
Index,
48th St. Collective,
The Grass Roots,
Inner City,
China Crisis,
The American Breed,
Morten Harket,
Sticky Fingaz feat. Raekwon,
The Slits,
Yellowson,
Sly & The Family Stone,
Dead Boys,
Gil Scott-Heron and Jamie xx,
Soft Cell,
Peter & Gordon,
Severed Heads, Severed Heads, Severed Heads, Severed Heads.
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.