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 Croatia and from Madrid.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Portland and Calgary.
I'm losing my edge to the art-school Spokane 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 marimba sounds with much patience.
I was there when Holger Czukay 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 Dead Boys to the jazz kids.
I played it at the Hacienda.
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 Blossom Toes. All the underground hits.
All Reagan Youth tracks. I heard you have a vinyl of every David Axelrod record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work 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?
Pulsallama,
Brick,
Cybotron,
Albert Ayler,
Sex Pistols,
Marshall Jefferson,
Shoche,
Faust,
Robert Görl,
Judy Mowatt,
Richard Hell and the Voidoids,
Monolake,
Magma,
Marmalade,
Stereo Dub,
Blancmange,
Donald Byrd,
Fifty Foot Hose,
EPMD,
Boredoms,
Niagra,
Kevin Saunderson,
Minnie Riperton,
Bush Tetras,
The Slits,
The Moody Blues,
Sun Ra,
The Birthday Party,
Neil Young,
the Human League,
Morten Harket,
Avey Tare & Kría Brekkan,
Depeche Mode,
The Grass Roots,
Pole,
Gian Franco Pienzio,
Ludus,
Masters at Work,
Johnny Clarke,
Derrick May,
Idris Muhammad,
Sound Behaviour,
Jesper Dahlback,
Piero Umiliani,
FM Einheit,
Yellowson,
Icehouse,
Black Pus,
John Lydon,
Rites of Spring,
Dr. Dre and Snoop Doggy Dog,
Bang On A Can,
Gang Green,
Lizzy Mercier Descloux,
Kas Product,
The Buckinghams,
Buzzcocks,
The Sisters of Mercy,
Tres Demented,
The Gap Band,
Bronski Beat,
Gabor Szabo, Gabor Szabo, Gabor Szabo, Gabor Szabo.
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.