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 Tajikistan and from Edmonton.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Madrid and Lagos.
I'm losing my edge to the art-school Tehran 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 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 Fad Gadget to the funk kids.
I played it at CBGB's.
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 Roxette. All the underground hits.
All The Walker Brothers tracks. I heard you have a vinyl of every Warsaw record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Mantronix,
Pharaoh Sanders and the Fire Engines,
One Last Wish,
The Wake,
Jawbox,
Kings Of Tomorrow,
Visage,
Oneida,
Tomorrow,
Icehouse,
Section 25,
Moss Icon,
Bad Manners,
Eyeless In Gaza,
Cal Tjader,
D'Angelo,
Minny Pops,
Faraquet,
Lou Reed,
Notorious Big And Bone Thugs,
Ajijia Myrayebe,
Ornette Coleman,
Half Japanese,
Sonic Youth,
Crispian St. Peters,
The Divine Comedy,
Swell Maps,
The Gap Band,
Pylon,
John Cale,
R.M.O.,
James White and The Blacks,
Stiv Bators,
Tubeway Army,
Idris Muhammad,
Jerry Gold Smith,
Pussy Galore,
Amon Düül II,
Yaz,
The Pop Group,
DeepChord presents Echospace,
Shuggie Otis,
T. Rex,
The Blackbyrds,
Magazine,
T.S.O.L.,
Amazonics,
Los Fastidios,
Bizarre Inc.,
Flamin' Groovies,
Aaron Thompson,
Camron Feat. Jay Z And Juelz,
Reagan Youth,
Little Man,
Tommy Roe,
UT,
Brass Construction,
Eric B and Rakim,
The Victims,
Ponytail,
The Cramps, The Cramps, The Cramps, The Cramps.
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.