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 Sudan and from Shanghai.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1964 to 1978.
I'm losing my edge.
To all the kids in New York and Philadelphia.
I'm losing my edge to the art-school Madrid 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the arpeggiator sounds with much patience.
I was there when Lou Reed 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 Thompson Twins to the crunk kids.
I played it at the Hacienda.
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 Normal. All the underground hits.
All Rapeman tracks. I heard you have a vinyl of every Eve St. Jones record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Blancmange record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joey Negro,
June Days,
K-Klass,
Junior Murvin,
The American Breed,
The Flesh Eaters,
The Remains,
Pere Ubu,
One Last Wish,
Liaisons Dangereuses,
Throbbing Gristle,
KRS-One,
Echospace,
Carl Craig,
The Real Kids,
Q65,
Ash Ra Tempel,
The Skatalites,
Model 500,
Marshall Jefferson,
the Bar-Kays,
Lebanon Hanover,
Byron Stingily,
Laurel Aitken,
Fat Boys,
Alice Coltrane,
Alphaville,
Todd Terry,
The Chocolate Watch Band,
The Smiths,
Sunsets and Hearts,
Crispian St. Peters,
JFA,
Colin Newman,
Peter & Gordon,
Cybotron,
Electric Prunes,
De La Soul & Jungle Brothers,
Bootsy Collins,
The Associates,
Brothers Johnson,
Roy Ayers Ubiquity,
Arcadia,
Johnny Osbourne,
Harpers Bizarre,
Scion,
Freddie Wadling,
Slick Rick,
Ohio Players,
Aloha Tigers,
Absolute Body Control,
Infiniti,
Matthew Bourne,
Metal Thangz,
8 Eyed Spy,
Amazonics,
Los Fastidios,
New Order,
Altered Images,
AZ,
The Mighty Diamonds,
a-ha,
The Trojans,
Peter Gordon & Love of Life Orchestra,
Popol Vuh, Popol Vuh, Popol Vuh, Popol Vuh.
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.