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 Togo and from Seoul.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Stockholm and Delhi.
I'm losing my edge to the art-school Edmonton 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the güiro 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 Sister Nancy to the rock kids.
I played it at CBGB's.
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 Dark Day. All the underground hits.
All Lou Reed & John Cale tracks. I heard you have a vinyl of every The Barracudas record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Memphis Bleek And Beenie Seigel record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
Piero Umiliani,
The Leaves,
Ohio Players,
Liaisons Dangereuses,
Grandmaster Flash and the Furious Five,
Harmonia,
Josef K,
Bootsy Collins,
Ten City,
Gichy Dan,
Chris & Cosey,
The Gories,
Rekid,
Man Parrish,
Mission of Burma,
U.S. Maple,
Second Layer,
Tubeway Army,
Scan 7,
Wire,
Pete Rock & C.L. Smooth,
Rahsaan Roland Kirk,
Parry Music,
The Human League,
E-Dancer,
Porter Ricks,
It's A Beautiful Day,
Nils Olav,
June Days,
Slave,
Matthew Halsall,
The Gun Club,
Little Man,
The Cramps,
Minnie Riperton,
The Moody Blues,
10cc,
Vaughan Mason & Crew,
Electric Prunes,
The Index,
Selector Dub Narcotic,
Kurtis Blow,
The Doors,
Louis and Bebe Barron,
John Holt,
Animal Collective,
Anakelly,
The Monks,
Procol Harum,
The Happenings,
Brass Construction,
The Monochrome Set,
cv313,
Marc Almond,
Skaos,
A Certain Ratio,
Crispy Ambulance,
Morten Harket,
Jacques Brel,
Dave Gahan, Dave Gahan, Dave Gahan, Dave Gahan.
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.