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 Guinea and from Toronto.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1964 to 1977.
I'm losing my edge.
To all the kids in Portland and Seoul.
I'm losing my edge to the art-school Calgary 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the organ 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 the Swans to the crunk kids.
I played it at the Astoria.
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 Swell Maps. All the underground hits.
All A Certain Ratio tracks. I heard you have a vinyl of every Oppenheimer Analysis record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Divine Comedy record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Echospace,
U.S. Maple,
Hasil Adkins,
Crispian St. Peters,
Slave,
The Skatalites,
Skriet,
Joyce Sims,
Dave Gahan,
Soulsonic Force,
Avey Tare,
Babytalk,
The Star Department,
The Dave Clark Five,
Mr. Review,
T.S.O.L.,
Minor Threat,
Howard Jones,
Dead Boys,
MC5,
Bootsy Collins,
Ultravox,
Zero Boys,
Smog,
The Fire Engines,
Mars,
James White and The Blacks,
This Heat,
Pole,
The Monochrome Set,
The Red Krayola,
Public Image Ltd.,
Jacques Brel,
Sonny Sharrock,
The Pop Group,
Eve St. Jones,
Ludus,
Pharoah Sanders,
Barrington Levy,
Derrick Morgan,
The Doobie Brothers,
Laurel Aitken,
Sugar Minott,
Colin Newman,
David Axelrod,
Kauko Röyhkä ja Narttu,
Dorothy Ashby,
David Bowie,
Mandrill,
LL Cool J,
The Jesus and Mary Chain,
The Gun Club,
Ohio Players,
Blancmange,
Mo-Dettes,
Selector Dub Narcotic,
Depeche Mode,
Kurtis Blow,
Bill Near,
James Chance & The Contortions,
Roy Ayers,
Sam Rivers,
Harpers Bizarre,
The Moody Blues,
Aswad, Aswad, Aswad, Aswad.
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.