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 Italy and from Copenhagen.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Halifax and Taipei.
I'm losing my edge to the art-school Toronto 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the güiro 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 DNA to the dance 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 Terry Callier. All the underground hits.
All Max Romeo tracks. I heard you have a vinyl of every Rhythm & Sound record on German import.
I heard that you have a white label of every seminal grime 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 mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Moby Grape record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris & Cosey,
Brass Construction,
Hot Snakes,
Alphaville,
Thee Headcoats,
Rites of Spring,
Josef K,
The Selecter,
Jimmy McGriff,
These Immortal Souls,
Fatback Band,
Agent Orange,
Trumans Water,
Skaos,
Camron Feat. Jay Z And Juelz,
Hoover,
Girls At Our Best!,
The Flesh Eaters,
Lakeside,
Lou Christie,
Peter and Kerry,
The Associates,
Susan Cadogan,
The Red Krayola,
Roy Ayers,
World's Most,
Joensuu 1685,
Jacques Brel,
EPMD,
Mission of Burma,
Tears for Fears,
Arab on Radar,
Franke,
Goldenarms,
Bill Wells,
Radio Birdman,
Rufus Thomas,
Bizarre Inc.,
Section 25,
Cabaret Voltaire,
Brand Nubian,
Pussy Galore,
Connie Case,
48th St. Collective,
Joe Finger,
Buzzcocks,
The Five Americans,
Selector Dub Narcotic,
Hashim,
The Moody Blues,
Essential Logic,
Sarah Menescal,
Barry Ungar,
Drive Like Jehu,
The Trojans,
Leonard Cohen,
The American Breed,
The Pop Group,
Japan,
Youth Brigade,
Soft Cell, Soft Cell, Soft Cell, Soft Cell.
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.