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 Moldova and from Manchester.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 Portland and Copenhagen.
I'm losing my edge to the art-school Johannesburg 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 1978 at the first Visage practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Nik Kershaw to the grunge kids.
I played it at the Astoria.
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 Heaven 17. All the underground hits.
All Monks tracks. I heard you have a vinyl of every Maleditus Sound record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Misunderstood record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faraquet,
Ornette Coleman,
ABBA,
Super Lover Cee & Casanova Rud,
Unrelated Segments,
Black Moon,
Pantaleimon,
Chris & Cosey,
Suburban Knight,
Röyhkä ja Rättö ja Lehtisalo,
Black Bananas,
The Fugs,
Cluster,
Soul Sonic Force,
The Human League,
Bizarre Inc.,
Infiniti,
Blancmange,
Throbbing Gristle,
Unwound,
Reagan Youth,
Jawbox,
Andrew Ashong & Theo Parrish,
Skaos,
the Swans,
Maleditus Sound,
Dead Boys,
Stockholm Monsters,
The Alarm Clocks,
Lonnie Liston Smith,
Oppenheimer Analysis,
Aural Exciters,
Marc Romboy vs. Booka Shade,
Fifty Foot Hose,
The Barracudas,
Lightning Bolt,
Lindisfarne,
Iggy Pop,
Fatback Band,
Japan,
Mars,
Heavy D & The Boyz,
H. Thieme,
Cal Tjader,
Ash Ra Tempel,
Deepchord,
The Divine Comedy,
Toni Rubio,
Slick Rick,
Matthew Bourne,
Essential Logic,
Delta 5,
T.S.O.L.,
Brothers Johnson,
Susan Cadogan,
Cameo,
Rhythm & Sound,
Avey Tare & Kría Brekkan,
Joensuu 1685,
Radiohead,
Little Man,
The Moleskins,
Masters at Work,
Vladislav Delay, Vladislav Delay, Vladislav Delay, Vladislav Delay.
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.