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 Switzerland and from Lille.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Hong Kong and Manchester.
I'm losing my edge to the art-school Shanghai 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 1984 at the first Arcadia practice in a loft in London.
I was working on the clarinet 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 Saccharine Trust to the techno kids.
I played it at Trash.
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 Marine Girls. All the underground hits.
All Vainqueur tracks. I heard you have a vinyl of every Marshall Jefferson 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 synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Stiv Bators record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Circle Jerks,
Joe Smooth,
The Mummies,
Soft Machine,
Mantronix,
Danielle Patucci,
Nas,
Lungfish,
The Doors,
Siouxsie and the Banshees,
Big Daddy Kane,
The Durutti Column,
Pulsallama,
The Star Department,
X-102,
The Walker Brothers,
Sunsets and Hearts,
Negative Approach,
Oblivians,
Jacob Miller,
The Toasters,
A Flock of Seagulls,
Gian Franco Pienzio,
Babytalk,
Marshall Jefferson,
CMW,
The Standells,
Josef K,
Rod Modell,
Magazine,
The Cure,
Terror Squad Feat. Camron,
Bob Dylan,
Black Sheep,
Rites of Spring,
Pylon,
Kevin Saunderson,
The Selecter,
Sonny Sharrock,
Au Pairs,
Groovy Waters,
The Modern Lovers,
Beasts of Bourbon,
Davy DMX,
The Sonics,
Lee Hazlewood,
Neu!,
Sun City Girls,
The Smoke,
John Cale,
Neil Young,
Japan,
ABBA,
Jacques Brel,
Carl Craig,
the Germs,
Mo-Dettes,
Teenage Jesus and the Jerks,
Nirvana,
Faraquet,
Franke, Franke, Franke, Franke.
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.