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 Korea North and from Columbus.
But I was there.
I was there in 1973.
I was there at the first Television 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 1962 to 1977.
I'm losing my edge.
To all the kids in Mumbai and Beijing.
I'm losing my edge to the art-school Delhi 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 1978 at the first Visage practice in a loft in London.
I was working on the harpsichord sounds with much patience.
I was there when Michael McDonald 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 Rhythm & Sound to the electroclash 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 Masters at Work. All the underground hits.
All Patti Smith tracks. I heard you have a vinyl of every Heaven 17 record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doors,
the Soft Cell,
Moebius,
Connie Case,
Roy Ayers,
Marc Romboy vs. Booka Shade,
Pete Rock & C.L. Smooth,
Ponytail,
Sugar Minott,
Qualms,
Brick,
The Velvet Underground,
The Golliwogs,
Eddi Front,
Grandmaster Flash,
Trumans Water,
New Order,
Kenny Larkin,
Darondo,
D'Angelo,
Crispian St. Peters,
A Flock of Seagulls,
Jacques Brel,
Lightning Bolt,
Agent Orange,
Moby Grape,
Manfred Mann's Earth Band,
Lou Reed & John Cale,
Echospace,
CMW,
Pharaoh Sanders and the Fire Engines,
John Cale,
Gabor Szabo,
Surgeon,
Animal Collective,
Black Bananas,
Al Stewart,
Sly & The Family Stone,
Johnny Osbourne,
Gichy Dan,
Stereo Dub,
Dark Day,
Little Man,
The Knickerbockers,
Liaisons Dangereuses,
Kango’s Stein Massive,
Interpol,
The Buckinghams,
Index,
FM Einheit,
Roger Hodgson,
The Chocolate Watch Band,
Ohio Players,
The Electric Prunes,
Tropical Tobacco,
Harry Pussy,
Ornette Coleman,
Skaos,
The Mighty Diamonds,
Ice-T,
LL Cool J,
Sällskapet,
Black Pus,
Rufus Thomas,
The Gories, The Gories, The Gories, The Gories.
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.