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 Kosovo and from Spokane.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1974.
I'm losing my edge.
To all the kids in Toronto and Woodstock.
I'm losing my edge to the art-school Winnipeg 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 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 Amazonics to the crunk kids.
I played it at the 40 Watt.
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 The Wake. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every Babytalk 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 '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Brick record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Goldenarms,
Procol Harum,
Mission of Burma,
Warren Ellis,
Flamin' Groovies,
Pere Ubu,
Blake Baxter,
Ultimate Spinach,
Jacob Miller,
Chris & Cosey,
Outsiders,
Kurtis Blow,
David McCallum,
The Techniques,
DJ Style,
Röyhkä ja Rättö ja Lehtisalo,
Monks,
Judy Mowatt,
Eli Mardock,
Fat Boys,
Roxy Music,
Ultravox,
Adolescents,
Danielle Patucci,
James Chance & The Contortions,
Sarah Menescal,
Rahsaan Roland Kirk,
Henry Cow,
John Lydon,
Connie Case,
Dark Day,
Marc Romboy vs. Booka Shade,
The Evens,
Soft Cell,
Saccharine Trust,
Charles Mingus,
Ohio Players,
The Monks,
The Knickerbockers,
Minnie Riperton,
Vainqueur,
Public Enemy,
Tom Boy,
Patti Smith,
Popol Vuh,
Unrelated Segments,
Anthony Braxton,
Harpers Bizarre,
Toni Rubio,
Roy Ayers,
Joe Finger,
Nick Cave & The Bad Seeds,
Michelle Simonal,
The Litter,
X-Ray Spex,
Stereo Dub,
Kerri Chandler,
Justin Hinds & The Dominoes,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.