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 Nepal and from Lyon.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Jakarta and Houston.
I'm losing my edge to the art-school London 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 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 Carl Craig to the punk 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 Masters at Work. All the underground hits.
All Brick tracks. I heard you have a vinyl of every Ash Ra Tempel 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 a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Lower 48 record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Popol Vuh,
Super Lover Cee & Casanova Rud,
Arab on Radar,
Todd Terry,
Grey Daturas,
Throbbing Gristle,
Vladislav Delay,
Sixth Finger,
Sparks,
Technova,
The Gap Band,
Morten Harket,
Stiv Bators,
Sunsets and Hearts,
The Evens,
Kool Moe Dee,
The Pretty Things,
Boz Scaggs,
Rhythim Is Rhythim,
Traffic Nightmare,
Tubeway Army,
the Association,
Porter Ricks,
Interpol,
The Gladiators,
Terry Callier,
Sonny Sharrock,
Scott Walker,
Monks,
Anakelly,
Section 25,
The Move,
Ken Boothe,
Rekid,
The Neon Judgement,
Gregory Isaacs,
The Music Machine,
The Angels of Light,
Jawbox,
Don Cherry,
Camberwell Now,
Blancmange,
Albert Ayler,
New Age Steppers,
Jerry's Kids,
Subhumans,
Derrick Morgan,
The Mighty Diamonds,
Delta 5,
Robert Görl,
Babytalk,
The Fire Engines,
Ralphi Rosario,
Brass Construction,
Bauhaus,
Japan, Japan, Japan, Japan.
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.