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 Monaco and from Portland.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Bremen and Halifax.
I'm losing my edge to the art-school Portland 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the güiro sounds with much patience.
I was there when Captain Beefheart 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 The Leaves to the techno 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 The Vogues. All the underground hits.
All Reagan Youth tracks. I heard you have a vinyl of every Echo & the Bunnymen record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a D'Angelo record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Darondo,
Visionaries,LMNO, T- Love & Iriscience,
Television Personalities,
Susan Cadogan,
Dual Sessions,
Gil Scott Heron,
Stiv Bators,
Ken Boothe,
Soft Cell,
James White and The Blacks,
Subhumans,
Grey Daturas,
Sarah Menescal,
Chris & Cosey,
Sun Ra,
Visage,
ABC,
Loose Ends,
Brick,
Wally Richardson,
Outsiders,
Junior Murvin,
Gil Scott-Heron & Brian Jackson,
The Smiths,
Hasil Adkins,
Make Up,
Lower 48,
Crooked Eye,
The Barracudas,
The Associates,
Qualms,
Soul II Soul,
The Five Americans,
Lou Reed,
Ash Ra Tempel,
The Mojo Men,
the Fania All-Stars,
Rotary Connection,
Niagra,
Colin Newman,
Symarip,
Public Enemy,
Monolake,
Andrew Hill,
Super Lover Cee & Casanova Rud,
The Walker Brothers,
Spandau Ballet,
Rakim,
Sly & The Family Stone,
Black Moon,
Cymande,
Gang Green,
Mandrill,
Angry Samoans,
Boogie Down Productions,
Banda Bassotti,
Howard Jones,
Roy Ayers Ubiquity,
Max Romeo,
Archie Shepp,
Selector Dub Narcotic,
The Buckinghams, The Buckinghams, The Buckinghams, The Buckinghams.
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.