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 France and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Tokyo and Lyon.
I'm losing my edge to the art-school Shanghai 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the arpeggiator 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 David Axelrod to the jazz 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 Marc Almond. All the underground hits.
All Can tracks. I heard you have a vinyl of every Eyeless In Gaza record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Outsiders record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gabor Szabo,
Black Flag,
Crispian St. Peters,
Magazine,
Spoonie Gee,
The New Christs,
Liaisons Dangereuses,
Flash Fearless,
Pere Ubu,
A Certain Ratio,
the Association,
John Cale,
T. Rex,
Eric B and Rakim,
Davy DMX,
Monolake,
Art Ensemble Of Chicago,
Gerry Rafferty,
The Seeds,
Procol Harum,
David McCallum,
The Walker Brothers,
Warsaw,
New Age Steppers,
Dual Sessions,
Leonard Cohen,
Tubeway Army,
Byron Stingily,
Porter Ricks,
The Mighty Diamonds,
Tears for Fears,
Steve Hackett,
Avey Tare's Slasher Flicks,
London Community Gospel Choir,
Glenn Branca,
Livin' Joy,
Zapp,
Siouxsie and the Banshees,
Charles Mingus,
The Residents,
cv313,
Wire,
Hot Snakes,
Isaac Hayes,
The Buckinghams,
the Swans,
Rahsaan Roland Kirk,
The Gap Band,
Urselle,
Shoche,
John Lydon,
Henry Cow,
Deadbeat,
Big Daddy Kane,
Ossler,
Kayak,
Tropical Tobacco,
Grey Daturas,
Gang of Four,
Jerry's Kids,
Dave Gahan,
Audionom,
Marvin Gaye, Marvin Gaye, Marvin Gaye, Marvin Gaye.
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.