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 Germany and from Paris.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Copenhagen and Shanghai.
I'm losing my edge to the art-school Edmonton 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 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 Lizzy Mercier Descloux to the rap kids.
I played it at Trash.
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 Main Source. All the underground hits.
All Barbara Tucker tracks. I heard you have a vinyl of every Lightning Bolt record on German import.
I heard that you have a white label of every seminal crunk 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 an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Marc Romboy vs. Booka Shade record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swans,
The Doobie Brothers,
Clear Light,
T.S.O.L.,
The Vogues,
The Standells,
The Motions,
Public Image Ltd.,
Sunsets and Hearts,
Essential Logic,
Faust,
Deakin,
The Royal Family And The Poor,
Derrick Morgan,
Susan Cadogan,
Robert Hood,
Boz Scaggs,
Arcadia,
Eric B and Rakim,
PIL,
Terrestrial Tones,
Ten City,
Pantaleimon,
Japan,
The Victims,
Peter and Kerry,
Barrington Levy,
Popol Vuh,
Vaughan Mason & Crew,
Sarah Menescal,
Rahsaan Roland Kirk,
Funkadelic,
Oblivians,
ABC,
The Modern Lovers,
Quadrant,
Sugar Minott,
The Divine Comedy,
The Doors,
Kauko Röyhkä ja Narttu,
Heaven 17,
L. Decosne,
Talk Talk,
Ossler,
Schoolly D,
Sound Behaviour,
The Gories,
Cameo,
Soulsonic Force,
Trumans Water,
Crispian St. Peters,
Electric Light Orchestra,
Lou Christie,
Scan 7,
Bizarre Inc.,
Quando Quango,
Strawberry Alarm Clock,
The Mighty Diamonds,
Parry Music,
Kool Moe Dee,
UT,
Interpol, Interpol, Interpol, Interpol.
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.