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 Nauru and from Sao Paulo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1978.
I'm losing my edge.
To all the kids in Columbus and Manchester.
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 1978 at the first Visage practice in a loft in London.
I was working on the harpsichord 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 The Young Rascals to the electroclash kids.
I played it at the Hacienda.
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 Jerry's Kids. All the underground hits.
All Mr. Review tracks. I heard you have a vinyl of every Gichy Dan record on German import.
I heard that you have a white label of every seminal dance 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 harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Shuggie Otis record.
I hear that you and your band have sold your marimba and bought a guitar.
I hear that you and your band have sold your guitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Tremeloes,
Neu!,
Siglo XX,
Red Lorry Yellow Lorry,
Grauzone,
Davy DMX,
Alton Ellis,
The Human League,
cv313,
Stereo Dub,
Youth Brigade,
The Gun Club,
B.T. Express,
The Gladiators,
Section 25,
DNA,
Howard Jones,
Jacob Miller,
Sarah Menescal,
Hasil Adkins,
La Düsseldorf,
Gang of Four,
Skarface,
Ornette Coleman,
The Names,
Althea and Donna,
Ultimate Spinach,
Kool G Rap & DJ Polo,
Joyce Sims,
The Zeros,
Circle Jerks,
Amon Düül II,
CMW,
Derrick Morgan,
Livin' Joy,
The Doobie Brothers,
Fluxion,
Avey Tare's Slasher Flicks,
Kaleidoscope,
Deepchord,
Eric B and Rakim,
Bluetip,
The Selecter,
The Dead C,
Eli Mardock,
Alison Limerick,
DJ Sneak,
the Slits,
Faraquet,
Visionaries,LMNO, T- Love & Iriscience,
Sun City Girls,
Saccharine Trust,
Minnie Riperton,
X-Ray Spex,
Pussy Galore,
Roy Ayers Ubiquity,
The Blackbyrds,
The Electric Prunes,
Judy Mowatt,
Parry Music, Parry Music, Parry Music, Parry Music.
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.