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 Luxembourg and from Accra.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1968 to 1978.
I'm losing my edge.
To all the kids in Spokane and Hong Kong.
I'm losing my edge to the art-school Lille 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 chamberlin 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 Crime to the electroclash kids.
I played it at CBGB's.
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 Vainqueur. All the underground hits.
All The Chocolate Watch Band tracks. I heard you have a vinyl of every Bill Near 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 '80s cut and another box set from the '90s.
I hear you're buying an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Quantec record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pantytec,
Ralphi Rosario,
Alphaville,
Loose Ends,
Peter & Gordon,
Aloha Tigers,
Mandrill,
Bobby Byrd,
The Selecter,
James Chance & The Contortions,
Rahsaan Roland Kirk,
Model 500,
Marc Romboy vs. Booka Shade,
Half Japanese,
B.T. Express,
the Soft Cell,
Arthur Verocai,
Los Fastidios,
Essential Logic,
Franke,
The Index,
Outsiders,
Brick,
The Doobie Brothers,
Marshall Jefferson,
The Monochrome Set,
The Doors,
Electric Light Orchestra,
Hot Snakes,
Monolake,
Japan,
Gary Puckett & The Union Gap,
David McCallum,
The Detroit Cobras,
Eurythmics,
Ten City,
Buzzcocks,
The Busters,
Vainqueur,
The Shadows of Knight,
China Crisis,
Flamin' Groovies,
Thee Headcoats,
Wally Richardson,
Gerry Rafferty,
Erasure,
Grandmaster Flash and the Furious Five,
The Grass Roots,
Kurtis Blow,
Skaos,
John Holt,
The Tremeloes,
Flash Fearless,
Jesper Dahlbäck,
This Heat,
Traffic Nightmare,
Kas Product,
Index,
The Buckinghams,
Black Flag,
Deepchord,
Amon Düül, Amon Düül, Amon Düül, Amon Düül.
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.