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 Marshall Islands and from Winnipeg.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Paris and Madrid.
I'm losing my edge to the art-school Mexico City 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the arpeggiator sounds with much patience.
I was there when Nile Rodgers 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 Q and Not U to the rap 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 X-101. All the underground hits.
All Swell Maps tracks. I heard you have a vinyl of every Jacques Brel 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 '60s cut and another box set from the '70s.
I hear you're buying a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Shoche record.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Franke,
Scratch Acid,
Con Funk Shun,
Cal Tjader,
Henry Cow,
Beasts of Bourbon,
The Move,
Ken Boothe,
La Düsseldorf,
The Star Department,
D'Angelo,
The Smiths,
Television,
Smog,
Fifty Foot Hose,
Lee Hazlewood,
The Sound,
Dennis Brown,
Outsiders,
Eric Copeland,
Man Parrish,
Fear,
De La Soul & Jungle Brothers,
The Young Rascals,
Eyeless In Gaza,
Pere Ubu,
Terry Callier,
The Wake,
Bizarre Inc.,
The J.B.'s,
Motorama,
Soul Sonic Force,
Basic Channel,
The Last Poets,
The Mighty Diamonds,
Gil Scott-Heron and Jamie xx,
Boogie Down Productions,
Liaisons Dangereuses,
Steve Hackett,
Black Pus,
The Associates,
Jerry's Kids,
Cybotron,
Sight & Sound,
Gregory Isaacs,
Magma,
Bobbi Humphrey,
Jeff Lynne,
Mad Mike,
Sarah Menescal,
The Black Dice,
kango's stein massive,
The Detroit Cobras,
Theoretical Girls,
Rosa Yemen,
Jesper Dahlbäck,
Crispian St. Peters,
Eli Mardock,
Marc Almond, Marc Almond, Marc Almond, Marc Almond.
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.