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 Sweden and from Manchester.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1969 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Copenhagen.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the linndrum sounds with much patience.
I was there when Nile Rodgers 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 Bootsy's Rubber Band to the jazz kids.
I played it at the Spitz.
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 Gian Franco Pienzio. All the underground hits.
All Godley & Creme tracks. I heard you have a vinyl of every Steve Hackett record on German import.
I heard that you have a white label of every seminal disco 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 a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Von Mondo,
The Move,
Laurel Aitken,
Blake Baxter,
Black Bananas,
Maleditus Sound,
Amon Düül II,
the Soft Cell,
Lucky Dragons,
Gerry Rafferty,
World's Most,
Moss Icon,
Man Eating Sloth,
Kerrie Biddell,
Joe Smooth,
Television Personalities,
Cecil Taylor,
Moby Grape,
Jacques Brel,
Audionom,
Mandrill,
The Trojans,
Bronski Beat,
X-Ray Spex,
The Star Department,
The Standells,
Anakelly,
Con Funk Shun,
Skaos,
This Heat,
Minnie Riperton,
a-ha,
Bizarre Inc.,
Eurythmics,
The Detroit Cobras,
Anthony Braxton,
Sex Pistols,
Alphaville,
The Residents,
Black Sheep,
Chris Corsano,
Camberwell Now,
Marc Almond,
the Fania All-Stars,
John Holt,
Godley & Creme,
Janne Schatter,
Make Up,
Fluxion,
Television,
Young Marble Giants,
Los Fastidios,
Ajijia Myrayebe,
Icehouse,
Crooked Eye,
Kerri Chandler,
The Walker Brothers,
The Divine Comedy,
10cc,
Babytalk,
AZ,
Iggy Pop,
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.