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 Mauritania and from Paris.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Tehran and Madrid.
I'm losing my edge to the art-school Mumbai 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 rhodes 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 Masters at Work to the grunge 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 Ronnie Foster. All the underground hits.
All New Age Steppers tracks. I heard you have a vinyl of every Barbara Tucker 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 '80s cut and another box set from the '90s.
I hear you're buying an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Letta Mbulu record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron 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?
Hasil Adkins,
The Alarm Clocks,
The Remains,
Derrick May,
Whodini,
Man Parrish,
Lakeside,
Bill Near,
Absolute Body Control,
The Detroit Cobras,
Avey Tare & Kría Brekkan,
Teenage Jesus and the Jerks,
Nils Olav,
Bad Manners,
Oppenheimer Analysis,
Barry Ungar,
Ohio Players,
Echospace,
Ludus,
Lightning Bolt,
The Red Krayola,
Lou Reed & John Cale,
Organ,
Pussy Galore,
Tres Demented,
Yusef Lateef,
Yellowson,
The New Christs,
Erykah Badu,
Drexciya,
the Bar-Kays,
The Evens,
Nik Kershaw,
Tubeway Army,
Skaos,
Crime,
Lower 48,
The Peanut Butter Conspiracy,
The Electric Prunes,
Spoonie Gee,
Deakin,
The Jesus and Mary Chain,
Todd Rundgren,
Country Joe & The Fish,
Gichy Dan,
Fear,
Wire,
Sex Pistols,
Ten City,
Blancmange,
Siouxsie and the Banshees,
Rosa Yemen,
Minor Threat,
Derrick Morgan,
Sun Ra Arkestra,
Marmalade,
Funky Four + One,
Blossom Toes,
Be Bop Deluxe,
Amazonics,
Kool Moe Dee, Kool Moe Dee, Kool Moe Dee, Kool Moe Dee.
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.