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 Guinea-Bissau and from Edmonton.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Bologna.
I'm losing my edge to the art-school Tokyo 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the 808 sounds with much patience.
I was there when David Bowie 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 X-101 to the dance 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 Schoolly D. All the underground hits.
All Soul Sonic Force tracks. I heard you have a vinyl of every Underground Resistance 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 '70s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Gian Franco Pienzio record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spoonie Gee,
Derrick May,
Country Joe & The Fish,
Moby Grape,
The Skatalites,
Brick,
Motorama,
Sandy B,
Rapeman,
Black Moon,
Sister Nancy,
Magazine,
The Pop Group,
Infiniti,
the Normal,
Thinking Fellers Union Local 282,
The Men They Couldn't Hang,
Theoretical Girls,
Grey Daturas,
Gong,
Ultra Naté,
Grandmaster Flash and the Furious Five,
Stockholm Monsters,
Bobby Byrd,
KRS-One,
Pulsallama,
Lebanon Hanover,
The Blackbyrds,
Lizzy Mercier Descloux,
Kerrie Biddell,
The Searchers,
Arthur Verocai,
Second Layer,
Spandau Ballet,
Harpers Bizarre,
Jeff Mills,
Letta Mbulu,
Dennis Brown,
Siouxsie and the Banshees,
Gil Scott Heron,
Ossler,
Gary Puckett & The Union Gap,
Davy DMX,
The Remains,
Roger Hodgson,
Audionom,
Von Mondo,
Black Pus,
It's A Beautiful Day,
Fluxion,
John Foxx,
Gang Gang Dance,
Hoover,
Sugar Minott,
MC5,
Ronan,
The Cramps,
Leonard Cohen,
Chris & Cosey,
EPMD,
The Move,
the Germs,
Yazoo, Yazoo, Yazoo, Yazoo.
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.