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 Russia and from Lagos.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Philadelphia and Tokyo.
I'm losing my edge to the art-school Lille 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 Notorious BIG live in Amsterdam to the electroclash 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 Pierre Henry. All the underground hits.
All Magazine tracks. I heard you have a vinyl of every Crispy Ambulance 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 '80s cut and another box set from the '90s.
I hear you're buying a guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Faust record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Symarip,
The Star Department,
Peter & Gordon,
Johnny Clarke,
Moebius,
H. Thieme,
Minny Pops,
Deepchord,
Deutsch Amerikanische Freundschaft,
The Misunderstood,
Intrusion,
Röyhkä ja Rättö ja Lehtisalo,
Average White Band,
The Doors,
Ronan,
Jandek,
The Fuzztones,
Unrelated Segments,
The Cowsills,
London Community Gospel Choir,
June Days,
Jeff Lynne,
Curtis Mayfield,
Lindisfarne,
Joy Division,
Beasts of Bourbon,
The Detroit Cobras,
Kurtis Blow,
Black Bananas,
Theoretical Girls,
Fad Gadget,
The Young Rascals,
Black Sheep,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Franke,
This Heat,
Art Ensemble Of Chicago,
Bang on a Can All-Stars,
The Shadows of Knight,
Stockholm Monsters,
Andrew Hill,
Cabaret Voltaire,
Sun City Girls,
Joyce Sims,
Eyeless In Gaza,
Deadbeat,
The Angels of Light,
Country Teasers,
Scratch Acid,
Graham Central Station,
Sunsets and Hearts,
The Alarm Clocks,
Easy Going,
Jacob Miller,
Gichy Dan,
Echo & the Bunnymen,
Lalann,
Jawbox,
Skriet,
Shuggie Otis,
Yaz,
Heavy D & The Boyz,
Gang Gang Dance,
Monolake, Monolake, Monolake, Monolake.
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.