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 Mauritius and from Toronto.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1971.
I'm losing my edge.
To all the kids in Philadelphia and Johannesburg.
I'm losing my edge to the art-school Spokane 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the mellotron sounds with much patience.
I was there when David Bowie 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 Urselle to the techno 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 The Moody Blues. All the underground hits.
All Intrusion tracks. I heard you have a vinyl of every Ultimate Spinach record on German import.
I heard that you have a white label of every seminal dance 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 linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Soft Cell record.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet 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 Zeros,
Man Parrish,
Skaos,
Rotary Connection,
Derrick May,
PIL,
The Gun Club,
Alison Limerick,
Bronski Beat,
Soul Sonic Force,
Quando Quango,
Radio Birdman,
Quadrant,
Be Bop Deluxe,
The Techniques,
Lebanon Hanover,
Sad Lovers and Giants,
This Heat,
Ituana,
Wally Richardson,
The Neon Judgement,
Louis and Bebe Barron,
The Remains,
The Searchers,
Marine Girls,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Magazine,
Boz Scaggs,
Bill Wells,
Kenny Larkin,
Soft Machine,
Stetsasonic,
Jacques Brel,
Gabor Szabo,
The Last Poets,
Make Up,
The Sound,
Cybotron,
Heavy D & The Boyz,
cv313,
Bobby Sherman,
The Index,
Mark Hollis,
Althea and Donna,
Basic Channel,
Ken Boothe,
Wolf Eyes,
Laurel Aitken,
Deakin,
UT,
Pharaoh Sanders and the Fire Engines,
Mission of Burma,
Frankie Knuckles,
Larry & the Blue Notes,
The United States of America,
Joe Finger,
Mandrill,
Sun Ra,
Bob Dylan,
The Durutti Column,
Harpers Bizarre, Harpers Bizarre, Harpers Bizarre, Harpers Bizarre.
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.