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 Mauritania and from Lagos.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Winnipeg and Manchester.
I'm losing my edge to the art-school New York 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the spring reverb sounds with much patience.
I was there when Donald Fagen 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 Scan 7 to the disco kids.
I played it at the 40 Watt.
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 Ohio Players. All the underground hits.
All Skriet tracks. I heard you have a vinyl of every Slave 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 '60s cut and another box set from the '80s.
I hear you're buying a rhodes and a spring reverb 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 clarinet and bought a sitar.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Henry Cow,
Jeff Mills,
Cymande,
The West Coast Pop Art Experimental Band,
Pierre Henry,
Los Fastidios,
Crispy Ambulance,
Sister Nancy,
Niagra,
Cameo,
Barclay James Harvest,
10cc,
The Wake,
Stockholm Monsters,
Fat Boys,
Wings,
Joe Finger,
Kenny Larkin,
Eyeless In Gaza,
Agitation Free,
Harmonia,
Andrew Ashong & Theo Parrish,
Morten Harket,
Siouxsie and the Banshees,
Rites of Spring,
Joe Smooth,
Mark Hollis,
Delta 5,
Oppenheimer Analysis,
Laurel Aitken,
the Germs,
Röyhkä ja Rättö ja Lehtisalo,
Bang on a Can All-Stars,
Cluster,
Buzzcocks,
Depeche Mode,
The Cowsills,
Big Daddy Kane,
F. McDonald,
The Golliwogs,
Ralphi Rosario,
The Doors,
Gang Green,
Zapp,
Larry & the Blue Notes,
Silicon Teens,
Brass Construction,
Lindisfarne,
Manfred Mann's Earth Band,
Gong,
The Fire Engines,
Pet Shop Boys,
Eddi Front,
Goldenarms,
The Associates,
Janne Schatter,
Vladislav Delay,
Jesper Dahlback,
Beasts of Bourbon,
8 Eyed Spy,
Thompson Twins,
Marc Almond, Marc Almond, Marc Almond, Marc Almond.
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.