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 Czech Republic and from Johannesburg.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Delhi and Bremen.
I'm losing my edge to the art-school Taipei 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 Human League practice in a loft in Sheffield.
I was working on the oboe 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 B.T. Express to the techno kids.
I played it at the Crocodile.
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 Pantaleimon. All the underground hits.
All Los Fastidios tracks. I heard you have a vinyl of every Blancmange 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 '80s cut and another box set from the '80s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Monochrome Set record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ornette Coleman,
Crispian St. Peters,
kango's stein massive,
These Immortal Souls,
Ponytail,
Mary Jane Girls,
Ossler,
Urselle,
Darondo,
The Zeros,
Tom Boy,
Strawberry Alarm Clock,
Lizzy Mercier Descloux,
World's Most,
Bootsy's Rubber Band,
Soul Sonic Force,
Zapp,
Jeff Mills,
Girls At Our Best!,
The Black Dice,
David Axelrod,
Bobby Hutcherson,
CMW,
Joe Smooth,
Royal Trux,
Steve Hackett,
Gang Gang Dance,
Siglo XX,
Joey Negro,
The Mummies,
AZ,
Fort Wilson Riot,
Inner City,
Lungfish,
Nas,
Lalann,
Technova,
Severed Heads,
Johnny Osbourne,
Gian Franco Pienzio,
Vaughan Mason & Crew,
Pharoah Sanders,
The Dave Clark Five,
The Wake,
Bob Dylan,
Mad Mike,
Richard Hell and the Voidoids,
Brand Nubian,
The Pretty Things,
Scratch Acid,
Stockholm Monsters,
Model 500,
Zero Boys,
T. Rex,
Quantec,
Kayak,
Pagans,
Janne Schatter,
Hasil Adkins,
F. McDonald,
Kas Product,
The Leaves,
Public Enemy, Public Enemy, Public Enemy, Public Enemy.
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.