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 Bolivia and from Edmonton.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1975.
I'm losing my edge.
To all the kids in Mexico City and Manchester.
I'm losing my edge to the art-school Bologna 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 mellotron sounds with much patience.
I was there when Michael McDonald 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 Procol Harum to the funk kids.
I played it at the Astoria.
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 Mission of Burma. All the underground hits.
All Man Eating Sloth tracks. I heard you have a vinyl of every Marc Almond 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 '80s cut and another box set from the '70s.
I hear you're buying a snare and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a 48th St. Collective record.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Soft Cell,
The Music Machine,
Bobbi Humphrey,
Pulsallama,
Lower 48,
Jacques Brel,
Malaria!,
Electric Light Orchestra,
Theoretical Girls,
Dual Sessions,
Howard Jones,
Bobby Hutcherson,
Ice-T,
Dorothy Ashby,
Spoonie Gee,
Marcia Griffiths,
Faraquet,
Whodini,
The Doors,
Terrestrial Tones,
Quadrant,
Aaron Thompson,
The Fall,
Eli Mardock,
Connie Case,
Deakin,
Piero Umiliani,
FM Einheit,
Mad Mike,
H. Thieme,
Audionom,
Kenny Larkin,
The Residents,
Danielle Patucci,
Derrick May,
cv313,
ABC,
Kerri Chandler,
Basic Channel,
The Angels of Light,
Vladislav Delay,
The Sisters of Mercy,
Scratch Acid,
Model 500,
Colin Newman,
Ten City,
Pete Rock & C.L. Smooth,
Stereo Dub,
The Standells,
Kerrie Biddell,
The Selecter,
Girls At Our Best!,
John Foxx,
Tubeway Army,
The Pretty Things,
Pierre Henry,
Leonard Cohen,
Echo & the Bunnymen,
Unrelated Segments,
The Offenders,
the Human League,
The Beau Brummels,
Fela Kuti,
Todd Rundgren,
The Mojo Men, The Mojo Men, The Mojo Men, The Mojo Men.
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.