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 Paris.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Cairo and Manila.
I'm losing my edge to the art-school Bologna 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 arpeggiator 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 Iggy Pop to the disco 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 Derrick Morgan. All the underground hits.
All Tres Demented tracks. I heard you have a vinyl of every Crime record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Eli Mardock record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Simply Red,
Dark Day,
Roxy Music,
Rapeman,
Interpol,
Roger Hodgson,
Tomorrow,
The Modern Lovers,
cv313,
Black Sheep,
the Sonics,
Stockholm Monsters,
Scan 7,
Albert Ayler,
Louis and Bebe Barron,
The Divine Comedy,
Grey Daturas,
Jeff Mills,
Man Eating Sloth,
Heavy D & The Boyz,
Inner City,
Fort Wilson Riot,
Sound Behaviour,
Warsaw,
Archie Shepp,
ABBA,
The Peanut Butter Conspiracy,
Mandrill,
The Zeros,
Jacques Brel,
Marc Almond,
Marshall Jefferson,
Michelle Simonal,
Bill Near,
CMW,
Jeru the Damaja,
Avey Tare & Kría Brekkan,
Morten Harket,
Amon Düül,
Radiohead,
The Mighty Diamonds,
48th St. Collective,
Vladislav Delay,
Marmalade,
Peter & Gordon,
Eric Dolphy,
Marvin Gaye,
The Buckinghams,
Yusef Lateef,
Bobby Sherman,
Amon Düül II,
Depeche Mode,
Minor Threat,
John Coltrane,
Judy Mowatt,
The Kinks,
Siouxsie and the Banshees,
The Monochrome Set,
Grandmaster Flash and the Furious Five,
John Holt,
DJ Sneak,
Big Daddy Kane,
The Beau Brummels,
Public Enemy, Public Enemy, Public Enemy, Public Enemy.
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.