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 East Timor and from Milan.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Tehran and Mexico City.
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 1978 at the first Visage practice in a loft in London.
I was working on the 808 sounds with much patience.
I was there when Holger Czukay 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 Jacob Miller 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 Sexual Harrassment. All the underground hits.
All John Cale tracks. I heard you have a vinyl of every Crash Course in Science 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 '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Maurizio record.
I hear that you and your band have sold your marimba and bought a guitar.
I hear that you and your band have sold your guitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Selecter,
Mandrill,
Siglo XX,
Tom Boy,
Soulsonic Force,
Urselle,
Von Mondo,
Eve St. Jones,
Graham Central Station,
Max Romeo,
Gerry Rafferty,
Sly & The Family Stone,
Nik Kershaw,
Pete Rock & C.L. Smooth,
David Bowie,
Yaz,
Boz Scaggs,
Faust,
The Victims,
Shoche,
Crispian St. Peters,
The Golliwogs,
It's A Beautiful Day,
X-101,
Suburban Knight,
Lower 48,
The Young Rascals,
Jeff Mills,
Mark Hollis,
Bootsy's Rubber Band,
Black Sheep,
Maurizio,
Delon & Dalcan,
Teenage Jesus and the Jerks,
The Fall,
Sun City Girls,
Toni Rubio,
Buzzcocks,
Gichy Dan,
Derrick Morgan,
Howard Jones,
Joe Smooth,
Groovy Waters,
Magazine,
Bobby Byrd,
Crispy Ambulance,
Zero Boys,
The Move,
The Alarm Clocks,
the Soft Cell,
Wire,
Cecil Taylor,
Dawn Penn,
The Mighty Diamonds,
Dave Gahan,
Duran Duran,
Brick,
The Five Americans,
Lou Reed,
Yellowson,
Trumans Water,
The Knickerbockers,
Zapp, Zapp, Zapp, Zapp.
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.