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 Denmark and from Glasgow.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Johannesburg and Mumbai.
I'm losing my edge to the art-school Lyon 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 1984 at the first Arcadia practice in a loft in London.
I was working on the oboe 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 Skriet to the techno kids.
I played it at the Spitz.
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 Rhythim Is Rhythim. All the underground hits.
All Sällskapet tracks. I heard you have a vinyl of every Ten City record on German import.
I heard that you have a white label of every seminal techno 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 rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions 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?
Altered Images,
Main Source,
The Pop Group,
MDC,
Sandy B,
L. Decosne,
The Red Krayola,
kango's stein massive,
Ludus,
Roxette,
The Mojo Men,
AZ,
Liliput,
Surgeon,
Johnny Osbourne,
Spandau Ballet,
Red Lorry Yellow Lorry,
Isaac Hayes,
Lizzy Mercier Descloux,
Von Mondo,
Television,
The Gun Club,
Rowland S Howard / Lydia Lunch,
Bizarre Inc.,
These Immortal Souls,
Bobby Hutcherson,
Mo-Dettes,
Ultravox,
The Men They Couldn't Hang,
Buzzcocks,
Can,
The Index,
Bluetip,
Anakelly,
Liaisons Dangereuses,
Rod Modell,
Nick Fraelich,
Suicide,
The Martian,
Monks,
Mission of Burma,
the Bar-Kays,
Sixth Finger,
Kenny Larkin,
Ajijia Myrayebe,
The Saints,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Walker Brothers,
Terror Squad Feat. Camron,
Nation of Ulysses,
Lucky Dragons,
Talk Talk,
Harmonia,
Depeche Mode,
Delta 5,
Wighnomy Brothers & Robag Wruhme,
Nils Olav,
Basic Channel,
Matthew Bourne,
The West Coast Pop Art Experimental Band,
Fatback Band,
Ituana,
The Young Rascals, The Young Rascals, The Young Rascals, The Young Rascals.
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.