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 Zambia and from Calgary.
But I was there.
I was there in .
I was there at the first Suicide 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 1969 to 1979.
I'm losing my edge.
To all the kids in Bremen and Sao Paulo.
I'm losing my edge to the art-school Madrid 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 synthesizer 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 Bill Near to the grime 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 Michelle Simonal. All the underground hits.
All Sonic Youth tracks. I heard you have a vinyl of every Peter and Kerry 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 '60s cut and another box set from the '70s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Eddi Front record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faust,
Half Japanese,
Dave Gahan,
Model 500,
Ten City,
Gang of Four,
The Selecter,
Barbara Tucker,
Popol Vuh,
Icehouse,
Essential Logic,
Minnie Riperton,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Strawberry Alarm Clock,
Heaven 17,
Joey Negro,
Basic Channel,
Pole,
Magazine,
Arthur Verocai,
EPMD,
Cybotron,
The Star Department,
Selector Dub Narcotic,
Gang Green,
Kool G Rap & DJ Polo,
Yazoo,
Agitation Free,
James Chance & The Contortions,
Funkadelic,
Vainqueur,
Echo & the Bunnymen,
Deutsch Amerikanische Freundschaft,
X-101,
Skaos,
The Pop Group,
Black Sheep,
Frankie Knuckles,
Wolf Eyes,
Lebanon Hanover,
Marcia Griffiths,
Dorothy Ashby,
Rhythim Is Rhythim,
the Bar-Kays,
Pharoah Sanders,
Nation of Ulysses,
Shoche,
Pussy Galore,
The Cowsills,
Lakeside,
Traffic Nightmare,
JFA,
The Misunderstood,
DNA,
Brothers Johnson,
The Real Kids,
Smog,
The Count Five,
Television,
Peter and Kerry,
The West Coast Pop Art Experimental Band,
Brick,
Fat Boys, Fat Boys, Fat Boys, Fat Boys.
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.