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 Liechtenstein and from Delhi.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Salvador and Jakarta.
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 1976 at the first Chic practice in a loft in New York.
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 Colin Newman to the techno kids.
I played it at Trash.
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 Tommy Roe. All the underground hits.
All Sällskapet tracks. I heard you have a vinyl of every Bang on a Can All-Stars record on German import.
I heard that you have a white label of every seminal punk 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 chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Idris Muhammad record.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kool Moe Dee,
Be Bop Deluxe,
Sight & Sound,
Danielle Patucci,
Johnny Clarke,
London Community Gospel Choir,
Boredoms,
The Victims,
Das Ding,
Maleditus Sound,
Deadbeat,
Arthur Verocai,
the Sonics,
Oppenheimer Analysis,
Quando Quango,
Derrick May,
Jacob Miller,
Newcleus,
Hardrive,
The Last Poets,
Jesper Dahlbäck,
Orchestral Manoeuvres in the Dark,
Gang Starr,
Brick,
Grey Daturas,
Gang Green,
Dr. Dre and Snoop Doggy Dog,
Bill Wells,
Sister Nancy,
Pulsallama,
Kerri Chandler,
Angels of Light & Akron/Family,
Lou Christie,
The Invisible,
Bobby Womack,
Hasil Adkins,
Eden Ahbez,
UT,
Louis and Bebe Barron,
Model 500,
Eli Mardock,
Japan,
Girls At Our Best!,
Massinfluence,
Cal Tjader,
Peter and Kerry,
Flamin' Groovies,
Fifty Foot Hose,
JFA,
The Red Krayola,
Bootsy Collins,
John Lydon,
De La Soul & Jungle Brothers,
The Names,
Blake Baxter,
Qualms,
Juan Atkins,
ABBA,
Fela Kuti,
The Blues Magoos, The Blues Magoos, The Blues Magoos, The Blues Magoos.
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.