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 Cameroon and from Portland.
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 Taipei and Accra.
I'm losing my edge to the art-school Hong Kong 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the 808 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 These Immortal Souls to the grunge kids.
I played it at the Crocodile.
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 H. Thieme. All the underground hits.
All Crispian St. Peters tracks. I heard you have a vinyl of every The Durutti Column record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Model 500 record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Main Source,
Newcleus,
Gong,
Masters at Work,
Lou Reed & John Cale,
Aural Exciters,
Jawbox,
Rotary Connection,
ABBA,
Grey Daturas,
Unrelated Segments,
Gil Scott-Heron & Brian Jackson,
Sugar Minott,
Roger Hodgson,
The Sonics,
The Fire Engines,
Severed Heads,
A Certain Ratio,
Infiniti,
Kas Product,
The Music Machine,
Orchestral Manoeuvres in the Dark,
Terry Callier,
Susan Cadogan,
Notorious Big And Bone Thugs,
Black Moon,
The Knickerbockers,
Strawberry Alarm Clock,
The Chocolate Watch Band,
Marshall Jefferson,
Ronan,
Tubeway Army,
Joe Finger,
Robert Görl,
Blossom Toes,
Oneida,
B.T. Express,
The Star Department,
The Evens,
The Monochrome Set,
Nick Cave & The Bad Seeds,
Alton Ellis,
Morten Harket,
China Crisis,
Faraquet,
Rahsaan Roland Kirk,
Lonnie Liston Smith,
Peter Gordon & Love of Life Orchestra,
Traffic Nightmare,
Minny Pops,
DJ Style,
Andrew Hill,
Angry Samoans,
E-Dancer,
the Slits,
Ultimate Spinach,
The Litter,
Flipper,
Sun City Girls,
Brass Construction,
the Human League, the Human League, the Human League, the Human League.
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.