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 Iran and from Seoul.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1965 to 1973.
I'm losing my edge.
To all the kids in London and Stockholm.
I'm losing my edge to the art-school Halifax 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 arpeggiator sounds with much patience.
I was there when Nile Rodgers 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 Red Lorry Yellow Lorry to the jazz kids.
I played it at Cafe Wha.
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 Vogues. All the underground hits.
All Kings Of Tomorrow tracks. I heard you have a vinyl of every Tim Buckley 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 '90s.
I hear you're buying a theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Soft Cell record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Flock of Seagulls,
Absolute Body Control,
The Names,
Alice Coltrane,
Flipper,
Piero Umiliani,
Be Bop Deluxe,
Angels of Light & Akron/Family,
Avey Tare & Kría Brekkan,
Michelle Simonal,
Flamin' Groovies,
Harmonia,
Funkadelic,
Stiv Bators,
Byron Stingily,
Vainqueur,
Gregory Isaacs,
Youth Brigade,
The Doors,
Gil Scott-Heron & Brian Jackson,
Tubeway Army,
Siouxsie and the Banshees,
Terrestrial Tones,
The Buckinghams,
Roy Ayers,
Mantronix,
Severed Heads,
Au Pairs,
Gary Puckett & The Union Gap,
Minutemen,
Suicide,
the Slits,
The Angels of Light,
The Chocolate Watch Band,
Kool Moe Dee,
Interpol,
Hasil Adkins,
Soft Cell,
Lucky Dragons,
Crispian St. Peters,
Depeche Mode,
The Barracudas,
Orchestral Manoeuvres in the Dark,
A Certain Ratio,
The Sonics,
The Standells,
The Leaves,
Oneida,
Patti Smith,
The Durutti Column,
Camberwell Now,
Desert Stars,
Gang of Four,
Bizarre Inc.,
Lou Reed & John Cale,
Moby Grape,
Scan 7,
Henry Cow,
Selector Dub Narcotic,
Section 25,
Beasts of Bourbon,
London Community Gospel Choir, London Community Gospel Choir, London Community Gospel Choir, London Community Gospel Choir.
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.