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 Nepal and from Taipei.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Stockholm and Columbus.
I'm losing my edge to the art-school Cairo 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed 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 Marmalade to the jazz kids.
I played it at Cafe Wha.
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 Sandy B. All the underground hits.
All LL Cool J tracks. I heard you have a vinyl of every Livin' Joy 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 '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a This Heat record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Altered Images,
Eyeless In Gaza,
Albert Ayler,
10cc,
Inner City,
Faust,
Half Japanese,
Clear Light,
John Holt,
Niagra,
Banda Bassotti,
Donald Byrd,
Spandau Ballet,
Bizarre Inc.,
Gerry Rafferty,
Traffic Nightmare,
the Germs,
The Martian,
Justin Hinds & The Dominoes,
Duran Duran,
The Fall,
The Victims,
ABC,
The Human League,
The Happenings,
Echospace,
Howard Jones,
Grauzone,
Masters at Work,
Judy Mowatt,
the Soft Cell,
Ronnie Foster,
Franke,
Wasted Youth,
Symarip,
Ornette Coleman,
The Tremeloes,
Larry & the Blue Notes,
Bill Wells,
The Index,
Bauhaus,
Thee Headcoats,
Hardrive,
The Smoke,
Roxy Music,
Surgeon,
Girls At Our Best!,
Camouflage,
Brand Nubian,
Eric B and Rakim,
DNA,
Blancmange,
X-Ray Spex,
Lou Reed & John Cale,
Hashim,
Rotary Connection,
Malaria!,
Bobby Sherman,
8 Eyed Spy,
Camron Feat. Memphis Bleek And Beenie Seigel,
Man Eating Sloth,
Chris & Cosey, Chris & Cosey, Chris & Cosey, Chris & Cosey.
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.