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 Brazil and from Paris.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Cairo and Houston.
I'm losing my edge to the art-school Lyon 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 harpsichord sounds with much patience.
I was there when Captain Beefheart 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 Niagra to the funk 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 Darondo. All the underground hits.
All Erasure tracks. I heard you have a vinyl of every John Lydon record on German import.
I heard that you have a white label of every seminal electroclash 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 theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Josef K record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stereo Dub,
La Düsseldorf,
The Slackers,
Janne Schatter,
The Sisters of Mercy,
Siglo XX,
Marc Almond,
Scientists,
Lightning Bolt,
Thinking Fellers Union Local 282,
Kerrie Biddell,
Royal Trux,
Talk Talk,
The Remains,
Soft Cell,
Avey Tare,
Mad Mike,
Terrestrial Tones,
Orchestral Manoeuvres in the Dark,
Bronski Beat,
Dawn Penn,
Accadde A,
Mantronix,
DNA,
Bobby Womack,
Magazine,
The Pop Group,
Dorothy Ashby,
Mary Jane Girls,
Jerry Gold Smith,
The Busters,
Shuggie Otis,
Big Daddy Kane,
Juan Atkins,
Bluetip,
Rakim,
Derrick Morgan,
Pet Shop Boys,
Alton Ellis,
DJ Sneak,
Black Bananas,
The Star Department,
Radio Birdman,
Flipper,
Selector Dub Narcotic,
One Last Wish,
A Certain Ratio,
Buzzcocks,
The Cosmic Jokers,
Davy DMX,
Nation of Ulysses,
Black Moon,
Essential Logic,
Lizzy Mercier Descloux,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Prince Buster,
Ohio Players,
the Normal,
Roxette,
Pole,
De La Soul & Jungle Brothers,
Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza.
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.