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 Syria and from Mumbai.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Winnipeg and Columbus.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the harpsichord 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 Orchestral Manoeuvres in the Dark to the funk kids.
I played it at the Roxy.
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 Boredoms. All the underground hits.
All The Pop Group tracks. I heard you have a vinyl of every Deadbeat 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 '50s cut and another box set from the '80s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a OOIOO record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
FM Einheit,
Pylon,
The Slackers,
Darondo,
Aswad,
The Real Kids,
Orchestral Manoeuvres in the Dark,
Rhythim Is Rhythim,
Electric Light Orchestra,
Althea and Donna,
Franke,
Sister Nancy,
Justin Hinds & The Dominoes,
Lalo Schifrin,
Anakelly,
Q and Not U,
The Skatalites,
Vainqueur,
Archie Shepp,
Crime,
Iggy Pop,
Jerry Gold Smith,
The Residents,
Todd Rundgren,
The Neon Judgement,
Juan Atkins,
The Pop Group,
Lee Hazlewood,
Monks,
Roxette,
The Cramps,
The Doors,
Yazoo,
Rekid,
Tres Demented,
Von Mondo,
The Blackbyrds,
Barry Ungar,
Lucky Dragons,
Andrew Ashong & Theo Parrish,
Bluetip,
Oblivians,
Bill Wells,
Lou Christie,
Thompson Twins,
Traffic Nightmare,
Rufus Thomas,
Inner City,
Gastr Del Sol,
Neil Young,
Robert Hood,
Underground Resistance,
DJ Sneak,
E-Dancer,
Thinking Fellers Union Local 282,
Drexciya,
Lou Reed & John Cale,
Bobby Sherman,
Altered Images,
Nation of Ulysses,
Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck.
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.