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 Tanzania and from Columbus.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Lyon and Lyon.
I'm losing my edge to the art-school Madrid 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the 808 sounds with much patience.
I was there when Nile Rodgers 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 Prince Buster to the jazz kids.
I played it at the Astoria.
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 Alison Limerick. All the underground hits.
All Chrome tracks. I heard you have a vinyl of every The Smoke record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
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 Arab on Radar record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slave,
the Soft Cell,
Larry & the Blue Notes,
Rod Modell,
Lou Reed,
Easy Going,
Mary Jane Girls,
Be Bop Deluxe,
James White and The Blacks,
Marmalade,
Scratch Acid,
The Cosmic Jokers,
Roger Hodgson,
The Dirtbombs,
Sight & Sound,
Agent Orange,
Kenny Larkin,
Andrew Hill,
Ossler,
Popol Vuh,
Eve St. Jones,
Talk Talk,
Radiohead,
KRS-One,
T.S.O.L.,
Mission of Burma,
Guru Guru,
Bill Near,
Dorothy Ashby,
Liaisons Dangereuses,
The Human League,
Rhythim Is Rhythim,
Johnny Clarke,
Buzzcocks,
The Young Rascals,
Röyhkä ja Rättö ja Lehtisalo,
Ponytail,
U.S. Maple,
Groovy Waters,
Bob Dylan,
Ronnie Foster,
Bang On A Can,
Joe Finger,
Janne Schatter,
Sly & The Family Stone,
The Barracudas,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Ohio Players,
Eric B and Rakim,
Section 25,
Ludus,
Wasted Youth,
Public Enemy,
Manfred Mann's Earth Band,
OOIOO,
Roy Ayers,
This Heat,
Drexciya,
Scott Walker + Sunn O))),
Kango’s Stein Massive,
Youth Brigade,
Jeru the Damaja,
La Düsseldorf,
Pet Shop Boys, Pet Shop Boys, Pet Shop Boys, Pet Shop Boys.
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.