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 Serbia and from Tehran.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Glasgow and Philadelphia.
I'm losing my edge to the art-school Bologna 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 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 Hoover to the electroclash kids.
I played it at the Troubador.
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 Bootsy Collins. All the underground hits.
All The Modern Lovers tracks. I heard you have a vinyl of every Marine Girls 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 '80s cut and another box set from the '90s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
Marcia Griffiths,
Lou Reed & John Cale,
LL Cool J,
Todd Rundgren,
PIL,
Joy Division,
ABBA,
Adolescents,
The United States of America,
The Flesh Eaters,
Neu!,
Young Marble Giants,
Intrusion,
EPMD,
Andrew Hill,
Jeff Mills,
Black Flag,
X-101,
Deakin,
Gastr Del Sol,
Desert Stars,
Sällskapet,
The Music Machine,
Blake Baxter,
Wally Richardson,
Yusef Lateef,
Harpers Bizarre,
Barry Ungar,
Gang Green,
Peter Gordon & Love of Life Orchestra,
Captain Beefheart & His Magic Band,
Country Teasers,
Popol Vuh,
the Association,
T. Rex,
Gregory Isaacs,
New York Dolls,
Mission of Burma,
Hoover,
Supertramp,
Carl Craig,
10cc,
Neil Young,
Echo & the Bunnymen,
Essential Logic,
Bronski Beat,
Pharoah Sanders,
Stetsasonic,
The Moleskins,
The Dirtbombs,
The Names,
Little Man,
Vaughan Mason & Crew,
Slick Rick,
Joyce Sims,
Symarip,
Japan,
Erasure,
Gang of Four,
The Barracudas,
Magma,
Ronan,
Ice-T, Ice-T, Ice-T, Ice-T.
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.