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 Suriname and from Taipei.
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 1960 to 1971.
I'm losing my edge.
To all the kids in New York and Philadelphia.
I'm losing my edge to the art-school Spokane 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 Robert Palmer 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 Oppenheimer Analysis to the funk kids.
I played it at the Spitz.
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 Be Bop Deluxe. All the underground hits.
All Joe Smooth tracks. I heard you have a vinyl of every Oneida record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
OOIOO,
the Human League,
Can,
Sugar Minott,
Public Enemy,
Funky Four + One,
Andrew Ashong & Theo Parrish,
The Count Five,
Surgeon,
The American Breed,
Lee Hazlewood,
In Retrospect,
Henry Cow,
Reuben Wilson,
Das Ding,
The Grass Roots,
Index,
Eric B and Rakim,
Urselle,
David McCallum,
Leonard Cohen,
Pantaleimon,
Mo-Dettes,
Von Mondo,
Whodini,
Harpers Bizarre,
Groovy Waters,
Grauzone,
Teenage Jesus and the Jerks,
Rhythm & Sound,
Glambeats Corp.,
Babytalk,
Althea and Donna,
Terror Squad Feat. Camron,
Strawberry Alarm Clock,
Bob Dylan,
Fugazi,
Tubeway Army,
Sonic Youth,
Little Man,
Au Pairs,
Junior Murvin,
Television Personalities,
Red Lorry Yellow Lorry,
Deepchord,
The Cosmic Jokers,
Marc Almond,
Fort Wilson Riot,
X-Ray Spex,
Fatback Band,
The Black Dice,
Pharaoh Sanders and the Fire Engines,
a-ha,
Carl Craig,
Boredoms,
The Velvet Underground,
Motorama,
The Barracudas,
Bang On A Can,
Minnie Riperton,
Swans,
Interpol,
The Real Kids,
Max Romeo, Max Romeo, Max Romeo, Max Romeo.
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.