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 Argentina and from Lyon.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Madrid and Spokane.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the spring reverb sounds with much patience.
I was there when Donald Fagen 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 Gichy Dan to the funk kids.
I played it at the Roxy.
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 Hood. All the underground hits.
All Eric B and Rakim tracks. I heard you have a vinyl of every Toni Rubio 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 '50s cut and another box set from the '90s.
I hear you're buying a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Bill Near record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
The Last Poets,
Flash Fearless,
ABC,
Sam Rivers,
Camron Feat. Memphis Bleek And Beenie Seigel,
Johnny Clarke,
The Count Five,
Glenn Branca,
Sly & The Family Stone,
Dawn Penn,
The Electric Prunes,
Magazine,
Althea and Donna,
Crash Course in Science,
Gang Starr,
Ituana,
Alphaville,
Suicide,
Iggy Pop,
Matthew Bourne,
Scott Walker,
Super Lover Cee & Casanova Rud,
Idris Muhammad,
Spandau Ballet,
Average White Band,
Letta Mbulu,
Das Ding,
Joey Negro,
Mantronix,
Stockholm Monsters,
David Axelrod,
The Golliwogs,
Underground Resistance,
The Slackers,
Richard Hell and the Voidoids,
Rapeman,
Black Pus,
Orchestral Manoeuvres in the Dark,
Yellowson,
Newcleus,
Black Bananas,
Hoover,
Jeru the Damaja,
The Chocolate Watch Band,
The Raincoats,
The Five Americans,
Maleditus Sound,
The Modern Lovers,
the Soft Cell,
MDC,
Country Teasers,
Audionom,
Ken Boothe,
Theoretical Girls,
Ornette Coleman,
James Chance & The Contortions,
Pere Ubu,
The Beau Brummels,
Kool Moe Dee,
The Moleskins, The Moleskins, The Moleskins, The Moleskins.
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.