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 Macedonia and from New York.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Jakarta and Edmonton.
I'm losing my edge to the art-school Johannesburg 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 theremin sounds with much patience.
I was there when Holger Czukay 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 Rapeman to the techno kids.
I played it at the Roxy.
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 Eurythmics. All the underground hits.
All Gregory Isaacs tracks. I heard you have a vinyl of every The Count Five 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 '70s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Niagra record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Desert Stars,
The Sound,
Grauzone,
Darondo,
Ornette Coleman,
Sight & Sound,
Gastr Del Sol,
Youth Brigade,
Lower 48,
the Sonics,
Neil Young & Crazy Horse,
The Wake,
Jesper Dahlback,
Pole,
Rhythm & Sound,
Gang of Four,
Rotary Connection,
The Red Krayola,
Soft Cell,
Lakeside,
Pulsallama,
Leonard Cohen,
JFA,
A Flock of Seagulls,
T.S.O.L.,
Matthew Bourne,
Talk Talk,
Agitation Free,
Lou Reed,
Bizarre Inc.,
The Star Department,
Young Marble Giants,
One Last Wish,
Angry Samoans,
Jeff Mills,
New Order,
Fad Gadget,
Kauko Röyhkä ja Narttu,
Intrusion,
The Moody Blues,
The Golliwogs,
Black Moon,
Mo-Dettes,
Royal Trux,
Kerrie Biddell,
Rosa Yemen,
Janne Schatter,
Masters at Work,
The Misunderstood,
Tom Boy,
The Fortunes,
Thinking Fellers Union Local 282,
Blancmange,
Flamin' Groovies,
Altered Images,
Art Ensemble Of Chicago,
Nick Cave & The Bad Seeds,
Strawberry Alarm Clock,
Pere Ubu,
The Jesus and Mary Chain,
The Standells,
the Fania All-Stars,
Yellowson, Yellowson, Yellowson, Yellowson.
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.