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 Cuba and from Bologna.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Shanghai and Milan.
I'm losing my edge to the art-school Madrid 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 organ 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 Erasure to the punk kids.
I played it at the Spitz.
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 Strawberry Alarm Clock. All the underground hits.
All Sight & Sound tracks. I heard you have a vinyl of every Super Lover Cee & Casanova Rud record on German import.
I heard that you have a white label of every seminal jazz 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 an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Nik Kershaw record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
the Soft Cell,
June of 44,
Flamin' Groovies,
Roger Hodgson,
DJ Style,
Second Layer,
Derrick May,
cv313,
Parry Music,
Colin Newman,
Angry Samoans,
Major Organ And The Adding Machine,
Isaac Hayes,
Unrelated Segments,
Nik Kershaw,
Porter Ricks,
Wally Richardson,
kango's stein massive,
Desert Stars,
Letta Mbulu,
Zapp,
Judy Mowatt,
The Gladiators,
This Heat,
Intrusion,
Bobbi Humphrey,
Marshall Jefferson,
Agitation Free,
Tres Demented,
Throbbing Gristle,
Thompson Twins,
London Community Gospel Choir,
Brand Nubian,
The United States of America,
Yusef Lateef,
Essential Logic,
Warsaw,
Simply Red,
The Dirtbombs,
Eric Dolphy,
Stiv Bators,
Lizzy Mercier Descloux,
Anakelly,
Swans,
Nation of Ulysses,
Funky Four + One,
Los Fastidios,
Hot Snakes,
Lafayette Afro Rock Band,
Ohio Players,
Blossom Toes,
the Germs,
Electric Prunes,
The Five Americans,
Cal Tjader,
Thee Headcoats,
Marc Almond,
John Coltrane,
The Vogues,
Depeche Mode,
Gil Scott Heron,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.