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 Lille.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Copenhagen and Johannesburg.
I'm losing my edge to the art-school Lyon 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 808 sounds with much patience.
I was there when Tom Verlaine 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 CMW to the techno 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 The Fortunes. All the underground hits.
All Kenny Larkin tracks. I heard you have a vinyl of every Ultimate Spinach record on German import.
I heard that you have a white label of every seminal rap 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 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Röyhkä ja Rättö ja Lehtisalo record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
the Slits,
Cameo,
Jimmy McGriff,
The Wake,
Theoretical Girls,
Bobby Womack,
Harry Pussy,
Al Stewart,
The Busters,
This Heat,
Manfred Mann's Earth Band,
Bobby Sherman,
Swans,
The Pretty Things,
Thinking Fellers Union Local 282,
Sugar Minott,
Curtis Mayfield,
Chris & Cosey,
John Cale,
Section 25,
Wire,
F. McDonald,
David Axelrod,
Howard Jones,
Maleditus Sound,
Stereo Dub,
Television Personalities,
Clear Light,
June Days,
T. Rex,
The Flesh Eaters,
JFA,
Magazine,
The Pop Group,
The Cosmic Jokers,
Pussy Galore,
Soul II Soul,
Rufus Thomas,
James Chance & The Contortions,
The Gories,
8 Eyed Spy,
Symarip,
Spandau Ballet,
Goldenarms,
The Motions,
New York Dolls,
the Normal,
Slave,
Depeche Mode,
Pulsallama,
The Cramps,
Gichy Dan,
Black Pus,
Roxette,
X-Ray Spex,
Ronan,
Silicon Teens,
Intrusion,
Mary Jane Girls,
The Seeds,
Eric Dolphy,
The Leaves,
Deadbeat, Deadbeat, Deadbeat, Deadbeat.
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.