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 Comoros and from Sao Paulo.
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 Milan and Johannesburg.
I'm losing my edge to the art-school Milan 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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 Pylon to the dance 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 Frankie Knuckles. All the underground hits.
All Donald Byrd tracks. I heard you have a vinyl of every Masters at Work record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Sugar Minott record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liliput,
Girls At Our Best!,
Orchestral Manoeuvres in the Dark,
Wally Richardson,
Iggy Pop,
Vaughan Mason & Crew,
The Barracudas,
Young Marble Giants,
DJ Style,
The Divine Comedy,
Ultimate Spinach,
Max Romeo,
Tropical Tobacco,
The Last Poets,
David McCallum,
Delon & Dalcan,
Crooked Eye,
Basic Channel,
Manfred Mann's Earth Band,
Jimmy McGriff,
Curtis Mayfield,
The Moleskins,
Joey Negro,
John Foxx,
Roxette,
Con Funk Shun,
Nas,
The Selecter,
Shoche,
The Birthday Party,
Siouxsie and the Banshees,
Avey Tare's Slasher Flicks,
Technova,
Duran Duran,
The Cowsills,
Au Pairs,
The Durutti Column,
The Evens,
Roger Hodgson,
The Neon Judgement,
EPMD,
Gang Green,
Suburban Knight,
The J.B.'s,
The Busters,
The Names,
Jesper Dahlback,
Eyeless In Gaza,
Rakim,
Silicon Teens,
Pagans,
Deepchord,
Beasts of Bourbon,
Kaleidoscope,
The Skatalites,
The Gories,
D'Angelo,
Mark Hollis,
Half Japanese,
Bronski Beat, Bronski Beat, Bronski Beat, Bronski Beat.
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.