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 Poland and from Seoul.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Winnipeg and Paris.
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 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 The Cowsills to the grime kids.
I played it at the Troubador.
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 Stiv Bators. All the underground hits.
All Prince Buster tracks. I heard you have a vinyl of every Angry Samoans 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 '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlbäck record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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 Beau Brummels,
Morten Harket,
Albert Ayler,
Section 25,
Aswad,
The Chocolate Watch Band,
cv313,
The Red Krayola,
Terrestrial Tones,
Motorama,
Gregory Isaacs,
The Residents,
Gang of Four,
D'Angelo,
Bang On A Can,
Glenn Branca,
Excepter,
Thinking Fellers Union Local 282,
World's Most,
The Busters,
Crime,
The Names,
Theoretical Girls,
Roxette,
The Neon Judgement,
Cluster,
Byron Stingily,
Silicon Teens,
Pharoah Sanders,
Deakin,
Todd Rundgren,
Thee Headcoats,
Black Moon,
Juan Atkins,
Bizarre Inc.,
Tomorrow,
Liaisons Dangereuses,
Pylon,
Fela Kuti,
Quantec,
Lizzy Mercier Descloux,
Tears for Fears,
Arcadia,
Monks,
The Last Poets,
Fat Boys,
Swans,
Basic Channel,
The Associates,
Kool Moe Dee,
Stockholm Monsters,
Judy Mowatt,
Nico,
Soul II Soul,
Parry Music,
Magazine,
Bill Near,
Nation of Ulysses,
Wighnomy Brothers & Robag Wruhme,
Gian Franco Pienzio,
Talk Talk,
Agent Orange,
Moby Grape,
Delta 5, Delta 5, Delta 5, Delta 5.
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.