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 Milan.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Mexico City and London.
I'm losing my edge to the art-school Manila 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 synthesizer 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 Misunderstood to the techno kids.
I played it at Trash.
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 Buzzcocks. All the underground hits.
All Cybotron tracks. I heard you have a vinyl of every Fort Wilson Riot 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 '70s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Fear record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hoover,
The Slits,
Sexual Harrassment,
The Fuzztones,
Stockholm Monsters,
Tim Buckley,
8 Eyed Spy,
Electric Prunes,
The Last Poets,
London Community Gospel Choir,
Crooked Eye,
Masters at Work,
Crispian St. Peters,
Mad Mike,
The Doors,
Ten City,
The Blues Magoos,
Visionaries,LMNO, T- Love & Iriscience,
the Soft Cell,
Hardrive,
Qualms,
Nils Olav,
Joey Negro,
In Retrospect,
Ultramagnetic MC's,
Joe Smooth,
Avey Tare's Slasher Flicks,
The Modern Lovers,
Monolake,
Index,
The Barracudas,
Robert Görl,
Matthew Bourne,
Gabor Szabo,
Wally Richardson,
John Foxx,
Pantaleimon,
Sad Lovers and Giants,
Maurizio,
Ash Ra Tempel,
Sixth Finger,
Nation of Ulysses,
June of 44,
Neil Young,
the Bar-Kays,
The Trojans,
Fear,
The Angels of Light,
Lindisfarne,
The Knickerbockers,
The Happenings,
Aural Exciters,
Nico,
Quando Quango,
Ultimate Spinach,
The New Christs,
the Human League,
Quantec,
Basic Channel,
Aaron Thompson,
Kauko Röyhkä ja Narttu,
New Age Steppers, New Age Steppers, New Age Steppers, New Age Steppers.
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.