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 Uruguay and from Delhi.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Lyon and New York.
I'm losing my edge to the art-school Copenhagen 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 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 Deadbeat to the rap kids.
I played it at the Troubador.
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 Ultravox. All the underground hits.
All The Count Five tracks. I heard you have a vinyl of every Khruangbin record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Soulsonic Force record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chrome,
Eurythmics,
New York Dolls,
Lou Reed & John Cale,
Susan Cadogan,
Maurizio,
Japan,
It's A Beautiful Day,
Gerry Rafferty,
Visage,
Quando Quango,
Robert Wyatt,
Kas Product,
Nirvana,
Ornette Coleman,
Röyhkä ja Rättö ja Lehtisalo,
Theoretical Girls,
Glambeats Corp.,
Accadde A,
Neil Young,
Carl Craig,
Scott Walker,
Kerri Chandler,
Art Ensemble Of Chicago,
T.S.O.L.,
Half Japanese,
Easy Going,
L. Decosne,
Mad Mike,
Pylon,
Terrestrial Tones,
Inner City,
The Neon Judgement,
Cameo,
the Human League,
Bang On A Can,
Freddie Wadling,
Chris & Cosey,
Sunsets and Hearts,
New Order,
Archie Shepp,
The American Breed,
Kool Moe Dee,
Sugar Minott,
Grandmaster Flash and the Furious Five,
Tom Boy,
X-Ray Spex,
Gang Gang Dance,
Urselle,
Danielle Patucci,
48th St. Collective,
Janne Schatter,
Ituana,
Tomorrow,
Skarface,
Graham Central Station,
Trumans Water,
the Sonics,
The Evens,
Camouflage,
Funky Four + One,
A Certain Ratio, A Certain Ratio, A Certain Ratio, A Certain Ratio.
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.