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 Mozambique and from Paris.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Lyon and New York.
I'm losing my edge to the art-school Woodstock 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 808 sounds with much patience.
I was there when Robert Palmer 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 The Mojo Men to the electroclash kids.
I played it at Cafe Wha.
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 MC5. All the underground hits.
All Minnie Riperton tracks. I heard you have a vinyl of every Robert Görl 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 '50s cut and another box set from the '80s.
I hear you're buying an oboe and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish record.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Don Cherry,
Interpol,
Pole,
Robert Hood,
The Fire Engines,
Sun City Girls,
Archie Shepp,
EPMD,
Brick,
Sonic Youth,
Skarface,
Stiv Bators,
Davy DMX,
De La Soul & Jungle Brothers,
The Grass Roots,
Aural Exciters,
MC5,
This Heat,
Spandau Ballet,
John Coltrane,
Big Daddy Kane,
Terrestrial Tones,
Bobby Womack,
Gang Gang Dance,
Rapeman,
Country Joe & The Fish,
Siglo XX,
Dorothy Ashby,
Danielle Patucci,
Barrington Levy,
Blake Baxter,
Rhythm & Sound,
Unrelated Segments,
Alison Limerick,
The Move,
Kool G Rap & DJ Polo,
Lakeside,
Sparks,
Piero Umiliani,
Kool Moe Dee,
Harmonia,
David Axelrod,
Ituana,
Sunsets and Hearts,
Ajijia Myrayebe,
The Real Kids,
LL Cool J,
Grauzone,
The Last Poets,
Pharaoh Sanders and the Fire Engines,
Faraquet,
DeepChord presents Echospace,
Warren Ellis,
Television,
The Modern Lovers,
Pagans,
Kauko Röyhkä ja Narttu,
Avey Tare,
Reuben Wilson,
Monks,
T.S.O.L.,
Visage,
Country Teasers, Country Teasers, Country Teasers, Country Teasers.
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.