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 Eritrea and from Stockholm.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Woodstock and Calgary.
I'm losing my edge to the art-school Accra 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the chamberlin 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 Anakelly to the disco 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 Fifty Foot Hose. All the underground hits.
All Robert Görl tracks. I heard you have a vinyl of every The Mojo Men 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 '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your spring reverb and bought an organ.
I hear that you and your band have sold your organ and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Toasters,
Stereo Dub,
the Bar-Kays,
The J.B.'s,
Teenage Jesus and the Jerks,
Art Ensemble Of Chicago,
MC5,
The Vogues,
the Normal,
Grandmaster Flash,
Easy Going,
Skarface,
Chrome,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Crooked Eye,
Heavy D & The Boyz,
The Residents,
Smog,
Marvin Gaye,
Kool G Rap & DJ Polo,
Country Joe & The Fish,
David Axelrod,
Eric Copeland,
Con Funk Shun,
The Seeds,
The Mojo Men,
Nico,
The Smiths,
Das Ding,
Loose Ends,
The Neon Judgement,
T.S.O.L.,
The Cure,
Byron Stingily,
Lower 48,
Soft Machine,
Funky Four + One,
June of 44,
Moebius,
Bobby Sherman,
Idris Muhammad,
The Martian,
John Cale,
Au Pairs,
Pantytec,
Newcleus,
Bobby Byrd,
The Sisters of Mercy,
Bang On A Can,
Glenn Branca,
Boogie Down Productions,
Supertramp,
Massinfluence,
Little Man,
Pet Shop Boys,
The Music Machine,
Lightning Bolt,
The Smoke,
The Electric Prunes,
The Beau Brummels,
Gang Green,
Eric Dolphy,
Dorothy Ashby,
the Soft Cell, the Soft Cell, the Soft Cell, the Soft Cell.
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.