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 Suriname and from Taipei.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1963 to 1975.
I'm losing my edge.
To all the kids in Sao Paulo and Toronto.
I'm losing my edge to the art-school Tokyo 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the spring reverb sounds with much patience.
I was there when Holger Czukay 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 Morten Harket to the grunge 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 X-101. All the underground hits.
All Ohio Players tracks. I heard you have a vinyl of every the Normal record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Soft Cell record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faraquet,
Duran Duran,
Accadde A,
Don Cherry,
Barrington Levy,
Robert Hood,
John Foxx,
E-Dancer,
Radio Birdman,
Donny Hathaway,
Sight & Sound,
Bobby Sherman,
Half Japanese,
Kool G Rap & DJ Polo,
kango's stein massive,
Ultravox,
Howard Jones,
Warsaw,
Roy Ayers Ubiquity,
the Soft Cell,
Ultramagnetic MC's,
Oneida,
The Slits,
Joey Negro,
Art Ensemble Of Chicago,
Absolute Body Control,
Robert Görl,
Pagans,
Notorious Big And Bone Thugs,
MC5,
Camberwell Now,
Livin' Joy,
Black Sheep,
Cecil Taylor,
Orchestral Manoeuvres in the Dark,
Slave,
Main Source,
Japan,
Bluetip,
Delta 5,
Carl Craig,
The West Coast Pop Art Experimental Band,
The Martian,
Maurizio,
a-ha,
Thee Headcoats,
The Cramps,
MDC,
The Pretty Things,
Matthew Bourne,
Patti Smith,
Intrusion,
Gichy Dan,
Tres Demented,
The Divine Comedy,
Mandrill,
Kings Of Tomorrow,
Country Teasers,
Soul II Soul,
Wasted Youth,
Country Joe & The Fish,
Jeff Mills,
F. McDonald,
Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone.
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.