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 Tunisia and from Portland.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1973.
I'm losing my edge.
To all the kids in Mexico City and Accra.
I'm losing my edge to the art-school Woodstock 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 Human League practice in a loft in Sheffield.
I was working on the 808 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 Qualms to the electroclash 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 The Motions. All the underground hits.
All Gian Franco Pienzio tracks. I heard you have a vinyl of every Camouflage 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 '60s cut and another box set from the '80s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Visage 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?
Man Eating Sloth,
Ajijia Myrayebe,
The Buckinghams,
KRS-One,
The J.B.'s,
Eric Copeland,
Glambeats Corp.,
Matthew Bourne,
The Doobie Brothers,
Camouflage,
Interpol,
The Birthday Party,
Beasts of Bourbon,
Jacob Miller,
Rosa Yemen,
June of 44,
Lower 48,
The Evens,
Mission of Burma,
Bad Manners,
Avey Tare's Slasher Flicks,
Radiopuhelimet,
T. Rex,
World's Most,
Stereo Dub,
Y Pants,
Faust,
R.M.O.,
Eden Ahbez,
Rakim,
Lakeside,
Cabaret Voltaire,
The Techniques,
Deadbeat,
The Beau Brummels,
Jacques Brel,
Arab on Radar,
Model 500,
China Crisis,
Lucky Dragons,
Television,
The Count Five,
The Toasters,
Lebanon Hanover,
Camberwell Now,
Nik Kershaw,
The Standells,
Cal Tjader,
The West Coast Pop Art Experimental Band,
Joe Finger,
New Order,
Marcia Griffiths,
Erykah Badu,
Nick Cave & The Bad Seeds,
Japan,
The Pop Group,
Cybotron,
X-101,
Kool G Rap & DJ Polo,
Chris & Cosey,
the Human League,
Scan 7,
The Jesus and Mary Chain,
PIL, PIL, PIL, PIL.
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.