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 Bosnia Herzegovina and from Bologna.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1962 to 1977.
I'm losing my edge.
To all the kids in London and Portland.
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 guitar sounds with much patience.
I was there when Robert Palmer 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 Bad Manners to the techno 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 Sällskapet. All the underground hits.
All Swans tracks. I heard you have a vinyl of every David Axelrod 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 '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a the Soft Cell record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fortunes,
Eric B and Rakim,
Camron Feat. Memphis Bleek And Beenie Seigel,
Jeff Lynne,
Magazine,
One Last Wish,
Nirvana,
Drexciya,
Nas,
Sonny Sharrock,
The Royal Family And The Poor,
Gong,
Heavy D & The Boyz,
Skriet,
Ice-T,
Cymande,
Alison Limerick,
Sun Ra Arkestra,
Unwound,
Aural Exciters,
Connie Case,
Kaleidoscope,
Public Enemy,
Cameo,
The Invisible,
Pagans,
Funkadelic,
Hot Snakes,
Notorious Big And Bone Thugs,
Eli Mardock,
Bush Tetras,
Arcadia,
The Offenders,
Pole,
Spoonie Gee,
Minor Threat,
A Flock of Seagulls,
Black Moon,
Robert Görl,
the Association,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Dirtbombs,
Wasted Youth,
Lalann,
Jimmy McGriff,
Donny Hathaway,
La Düsseldorf,
The Sonics,
Ultravox,
Roxette,
Nik Kershaw,
Ornette Coleman,
Graham Central Station,
Gil Scott-Heron & Brian Jackson,
Camouflage,
The Monochrome Set,
De La Soul & Jungle Brothers,
Massinfluence,
Man Parrish, Man Parrish, Man Parrish, Man Parrish.
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.