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 Haiti and from London.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Halifax and Lille.
I'm losing my edge to the art-school Jakarta 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 guitar sounds with much patience.
I was there when Lou Reed 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 U.S. Maple to the grime kids.
I played it at the Crocodile.
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 Romboy vs. Booka Shade. All the underground hits.
All Groovy Waters tracks. I heard you have a vinyl of every Visionaries,LMNO, T- Love & Iriscience 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 '80s cut and another box set from the '80s.
I hear you're buying an oboe and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tears for Fears,
Roger Hodgson,
The West Coast Pop Art Experimental Band,
Avey Tare & Kría Brekkan,
ABC,
the Sonics,
Liaisons Dangereuses,
Avey Tare,
Pylon,
Eric Dolphy,
Judy Mowatt,
Bobby Sherman,
Thompson Twins,
Lou Reed & Metallica,
These Immortal Souls,
Supertramp,
Fad Gadget,
Tom Boy,
Soft Cell,
Lightning Bolt,
Cymande,
Howard Jones,
Desert Stars,
The Buckinghams,
Eyeless In Gaza,
Popol Vuh,
Second Layer,
Jacob Miller,
The Techniques,
Ornette Coleman,
Mad Mike,
Maurizio,
The Kinks,
Gong,
L. Decosne,
Pulsallama,
Gastr Del Sol,
Symarip,
Donald Byrd,
Juan Atkins,
Lou Reed & John Cale,
John Coltrane,
the Germs,
Negative Approach,
The Moleskins,
Rufus Thomas,
Subhumans,
Ossler,
Smog,
Sam Rivers,
Ultra Naté,
Marcia Griffiths,
The Toasters,
New Age Steppers,
Iggy Pop,
Ralphi Rosario,
The Smiths,
E-Dancer,
Gichy Dan,
Nils Olav,
Janne Schatter,
Sex Pistols,
Aswad,
The Modern Lovers, The Modern Lovers, The Modern Lovers, The Modern Lovers.
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.