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 Andorra and from Mexico City.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Hong Kong and Woodstock.
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 1976 at the first Chic practice in a loft in New York.
I was working on the spring reverb 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 electroclash kids.
I played it at Cafe Wha.
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 Inner City. All the underground hits.
All Yazoo tracks. I heard you have a vinyl of every Traffic Nightmare record on German import.
I heard that you have a white label of every seminal punk 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 harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Cluster record.
I hear that you and your band have sold your guitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun City Girls,
Beasts of Bourbon,
Gian Franco Pienzio,
The Music Machine,
John Cale,
Dave Gahan,
Masters at Work,
Davy DMX,
James Chance & The Contortions,
Half Japanese,
Donald Byrd,
Country Joe & The Fish,
Derrick Morgan,
The Knickerbockers,
Whodini,
Bang On A Can,
Lebanon Hanover,
Mary Jane Girls,
Desert Stars,
Arthur Verocai,
Ultramagnetic MC's,
Fela Kuti,
Lakeside,
Terror Squad Feat. Camron,
La Düsseldorf,
Flamin' Groovies,
Public Image Ltd.,
The Electric Prunes,
Soft Machine,
Mantronix,
X-Ray Spex,
Kenny Larkin,
Bill Wells,
Jeff Lynne,
the Human League,
The Moleskins,
Arcadia,
Brick,
Al Stewart,
Warren Ellis,
The American Breed,
Los Fastidios,
Roxette,
Marshall Jefferson,
Ronan,
Lindisfarne,
The Barracudas,
Crime,
Aural Exciters,
Roxy Music,
Minny Pops,
Bluetip,
Boogie Down Productions,
The Mighty Diamonds,
Jimmy McGriff,
Todd Terry,
Piero Umiliani,
Porter Ricks,
Radiohead,
Organ,
Kango’s Stein Massive, Kango’s Stein Massive, Kango’s Stein Massive, Kango’s Stein Massive.
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.