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 Malaysia and from Manchester.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Milan and Copenhagen.
I'm losing my edge to the art-school Tehran 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 arpeggiator 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 Brick to the crunk 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 Simply Red. All the underground hits.
All the Soft Cell tracks. I heard you have a vinyl of every Anakelly record on German import.
I heard that you have a white label of every seminal jazz 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 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Kevin Saunderson record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Selecter,
Wolf Eyes,
Lalo Schifrin,
Vladislav Delay,
Marc Almond,
Rod Modell,
Tropical Tobacco,
Tim Buckley,
The Leaves,
Eli Mardock,
The Shadows of Knight,
Negative Approach,
Max Romeo,
Moss Icon,
The Names,
Pet Shop Boys,
Sparks,
La Düsseldorf,
the Fania All-Stars,
David McCallum,
The Smoke,
Donald Byrd,
Young Marble Giants,
Inner City,
The Cramps,
Pylon,
The Invisible,
The Skatalites,
Spoonie Gee,
Amon Düül II,
The Slits,
New Age Steppers,
London Community Gospel Choir,
Jerry Gold Smith,
Goldenarms,
R.M.O.,
Althea and Donna,
The Fuzztones,
X-101,
Röyhkä ja Rättö ja Lehtisalo,
Throbbing Gristle,
Underground Resistance,
Bad Manners,
Funky Four + One,
Lungfish,
Pierre Henry,
Au Pairs,
Pere Ubu,
The Residents,
Tears for Fears,
Grauzone,
Duran Duran,
Manfred Mann's Earth Band,
Juan Atkins,
Sonny Sharrock,
Echospace,
Suicide,
The Cowsills,
Icehouse,
Sexual Harrassment,
Stiv Bators,
Lonnie Liston Smith,
Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu.
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.