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 Korea North and from Jakarta.
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 Jakarta and London.
I'm losing my edge to the art-school Milan 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 chamberlin sounds with much patience.
I was there when Holger Czukay 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 Model 500 to the funk 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 The Residents. All the underground hits.
All Barbara Tucker tracks. I heard you have a vinyl of every Warren Ellis record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Joey Negro record.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fela Kuti,
Blossom Toes,
Swans,
X-101,
Jeff Mills,
Black Moon,
Sad Lovers and Giants,
Rhythm & Sound,
T. Rex,
Gian Franco Pienzio,
Stetsasonic,
Dawn Penn,
Alice Coltrane,
Basic Channel,
KRS-One,
Make Up,
Slick Rick,
Unrelated Segments,
Minor Threat,
Neil Young,
Susan Cadogan,
Swell Maps,
Los Fastidios,
Mad Mike,
Cluster,
Soft Machine,
Kool G Rap & DJ Polo,
Orchestral Manoeuvres in the Dark,
Agent Orange,
Tropical Tobacco,
Graham Central Station,
H. Thieme,
New York Dolls,
Skaos,
La Düsseldorf,
The Electric Prunes,
Tom Boy,
Yazoo,
Ornette Coleman,
Andrew Ashong & Theo Parrish,
Yaz,
Sugar Minott,
Liaisons Dangereuses,
Arthur Verocai,
Jeff Lynne,
Gil Scott Heron,
The Alarm Clocks,
The Golliwogs,
Richard Hell and the Voidoids,
Kerri Chandler,
Toni Rubio,
Vladislav Delay,
the Soft Cell,
Lonnie Liston Smith,
Heaven 17,
Franke,
Chris Corsano,
Ronnie Foster,
Nils Olav,
the Association, the Association, the Association, the Association.
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.