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 Armenia and from Mexico City.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Spokane and Halifax.
I'm losing my edge to the art-school Winnipeg 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the synthesizer 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 Dennis Brown to the funk kids.
I played it at the Spitz.
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 The Chocolate Watch Band. All the underground hits.
All CMW tracks. I heard you have a vinyl of every Barrington Levy record on German import.
I heard that you have a white label of every seminal rap 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 oboe and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash and the Furious Five record.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Music Machine,
The Walker Brothers,
Gil Scott-Heron & Brian Jackson,
Audionom,
Be Bop Deluxe,
the Swans,
Oneida,
MC5,
Babytalk,
The Cosmic Jokers,
Kings Of Tomorrow,
EPMD,
Lou Reed & Metallica,
Gong,
Sex Pistols,
The Smoke,
The Jesus and Mary Chain,
Laurel Aitken,
Scrapy,
June of 44,
Faraquet,
Pulsallama,
Monolake,
Arthur Verocai,
Iggy Pop,
the Association,
Deepchord,
Reuben Wilson,
World's Most,
La Düsseldorf,
Erasure,
Crispian St. Peters,
The Raincoats,
Juan Atkins,
The Mummies,
Lindisfarne,
Peter Gordon & Love of Life Orchestra,
Livin' Joy,
Sexual Harrassment,
Organ,
Qualms,
Joensuu 1685,
Scion,
Sight & Sound,
Joe Smooth,
Delon & Dalcan,
The Gladiators,
Black Pus,
Howard Jones,
Henry Cow,
Cheater Slicks,
Sugar Minott,
Stockholm Monsters,
Andrew Ashong & Theo Parrish,
Wighnomy Brothers & Robag Wruhme,
Sunsets and Hearts,
The Royal Family And The Poor,
Sister Nancy,
Desert Stars,
Groovy Waters,
Barbara Tucker,
Anakelly,
The Happenings,
Rhythm & Sound, Rhythm & Sound, Rhythm & Sound, Rhythm & Sound.
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.