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 Barbados and from Bologna.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1963 to 1971.
I'm losing my edge.
To all the kids in London and Shanghai.
I'm losing my edge to the art-school Woodstock 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the clarinet sounds with much patience.
I was there when Holger Czukay 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 The Barracudas to the dance kids.
I played it at the Astoria.
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 Robert Görl. All the underground hits.
All Malaria! tracks. I heard you have a vinyl of every Sunsets and Hearts record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Cybotron record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Almond,
The Music Machine,
Schoolly D,
Pagans,
Traffic Nightmare,
Rakim,
Teenage Jesus and the Jerks,
The Alarm Clocks,
Dennis Brown,
The Motions,
The Victims,
Supertramp,
Barry Ungar,
Vainqueur,
Sun Ra Arkestra,
The Busters,
Brothers Johnson,
Roy Ayers,
Sällskapet,
Alison Limerick,
The Residents,
Bauhaus,
The Barracudas,
the Slits,
Black Pus,
Neil Young,
Pantytec,
Stiv Bators,
Funkadelic,
Byron Stingily,
Laurel Aitken,
Lebanon Hanover,
Dorothy Ashby,
The Fortunes,
Lou Christie,
Eden Ahbez,
Ultravox,
The Count Five,
The Fugs,
Cameo,
London Community Gospel Choir,
OOIOO,
Brand Nubian,
D'Angelo,
Faust,
Grauzone,
Public Enemy,
Bob Dylan,
Ludus,
Sugar Minott,
Justin Hinds & The Dominoes,
Be Bop Deluxe,
Sparks,
Sun Ra,
Thompson Twins,
Reagan Youth,
The Five Americans,
June of 44,
Bronski Beat,
Red Lorry Yellow Lorry,
Underground Resistance,
Oneida,
Soulsonic Force,
The Doors, The Doors, The Doors, The Doors.
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.