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 Senegal and from Seoul.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Tokyo and Lille.
I'm losing my edge to the art-school Lyon 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the snare sounds with much patience.
I was there when Nile Rodgers 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 Neon Judgement to the dance kids.
I played it at the 40 Watt.
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 Masta Ace, Craig G, Kool G Rap, Big Daddy Kane. All the underground hits.
All the Human League tracks. I heard you have a vinyl of every The Count Five 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 '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Fugs record.
I hear that you and your band have sold your sitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Big Daddy Kane,
Pharoah Sanders,
Reagan Youth,
Donald Byrd,
Lizzy Mercier Descloux,
Red Lorry Yellow Lorry,
Marmalade,
Kool Moe Dee,
Boogie Down Productions,
Liaisons Dangereuses,
Roxy Music,
Robert Görl,
Colin Newman,
Lee Hazlewood,
The Dave Clark Five,
Sixth Finger,
Japan,
Deepchord,
Black Bananas,
The Dead C,
Absolute Body Control,
Marc Almond,
Dorothy Ashby,
John Coltrane,
Grandmaster Flash,
John Holt,
Dennis Brown,
Tomorrow,
Jeff Mills,
X-101,
Sister Nancy,
Cybotron,
Ossler,
Suburban Knight,
The Smiths,
The Index,
Röyhkä ja Rättö ja Lehtisalo,
Judy Mowatt,
Sarah Menescal,
Althea and Donna,
Intrusion,
Lafayette Afro Rock Band,
the Swans,
Banda Bassotti,
Danielle Patucci,
Monks,
the Soft Cell,
Mark Hollis,
Yusef Lateef,
The J.B.'s,
Jerry Gold Smith,
Gang Green,
Buzzcocks,
Aaron Thompson,
Bizarre Inc.,
Gong,
The Trojans,
Soft Cell,
Henry Cow,
The Detroit Cobras,
Todd Terry, Todd Terry, Todd Terry, Todd Terry.
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.