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 Venezuela and from Manchester.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Seoul and Bremen.
I'm losing my edge to the art-school Johannesburg 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 marimba 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 Tommy Roe to the funk kids.
I played it at CBGB's.
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 Joe Smooth. All the underground hits.
All The Walker Brothers tracks. I heard you have a vinyl of every Alison Limerick record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Almond,
The Happenings,
Major Organ And The Adding Machine,
Bronski Beat,
Gil Scott Heron,
Bootsy Collins,
Isaac Hayes,
Au Pairs,
Anakelly,
Grandmaster Flash and the Furious Five,
Deadbeat,
Trumans Water,
Audionom,
Stiv Bators,
The Associates,
The Motions,
Dual Sessions,
Delta 5,
The Techniques,
The Walker Brothers,
Grey Daturas,
Anthony Braxton,
Rites of Spring,
Siouxsie and the Banshees,
F. McDonald,
The Moleskins,
Jimmy McGriff,
Marshall Jefferson,
Josef K,
Robert Wyatt,
Heaven 17,
Kenny Larkin,
Negative Approach,
Gang Gang Dance,
Steve Hackett,
Ash Ra Tempel,
Tubeway Army,
Blossom Toes,
Neu!,
Liaisons Dangereuses,
The Victims,
Main Source,
A Flock of Seagulls,
Flamin' Groovies,
Colin Newman,
Maleditus Sound,
Marc Romboy vs. Booka Shade,
Crime,
It's A Beautiful Day,
Mary Jane Girls,
Buzzcocks,
Laurel Aitken,
The Saints,
Camron Feat. Jay Z And Juelz,
Rhythm & Sound,
Black Pus,
Simply Red,
Todd Rundgren,
K-Klass,
Marcia Griffiths,
OOIOO,
Althea and Donna,
Accadde A, Accadde A, Accadde A, Accadde A.
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.