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 Georgia and from Copenhagen.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Bremen.
I'm losing my edge to the art-school Winnipeg 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 808 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 CMW to the rock kids.
I played it at the Spitz.
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 The Fire Engines. All the underground hits.
All Matthew Bourne tracks. I heard you have a vinyl of every Man Parrish record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gregory Isaacs,
Chris & Cosey,
The Pretty Things,
Porter Ricks,
The Blues Magoos,
Barrington Levy,
Second Layer,
Gabor Szabo,
Connie Case,
Bang On A Can,
The Fuzztones,
Public Enemy,
Sixth Finger,
Animal Collective,
DJ Style,
ABBA,
T.S.O.L.,
The Fugs,
Lightning Bolt,
Fugazi,
Symarip,
Mo-Dettes,
Sly & The Family Stone,
Youth Brigade,
The J.B.'s,
The Wake,
Gang Green,
JFA,
The Durutti Column,
Soft Cell,
Sexual Harrassment,
Joe Smooth,
It's A Beautiful Day,
Public Image Ltd.,
Severed Heads,
Brothers Johnson,
MDC,
Orchestral Manoeuvres in the Dark,
Man Parrish,
Goldenarms,
Stetsasonic,
Soulsonic Force,
The Monochrome Set,
Lonnie Liston Smith,
Suicide,
Urselle,
Pylon,
Dark Day,
Section 25,
CMW,
Soul II Soul,
Bluetip,
Steve Hackett,
Peter and Kerry,
Bad Manners,
Liaisons Dangereuses,
Amon Düül II,
Silicon Teens,
The Moody Blues,
David McCallum,
Bobby Sherman,
Sight & Sound, Sight & Sound, Sight & Sound, Sight & Sound.
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.