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 Burkina and from Manila.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Manchester and Accra.
I'm losing my edge to the art-school Delhi 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 guitar 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 Alphaville to the disco kids.
I played it at the Hacienda.
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 Cabaret Voltaire. All the underground hits.
All The Stooges tracks. I heard you have a vinyl of every The Misunderstood record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
LL Cool J,
Faust,
Cabaret Voltaire,
Cluster,
The Sonics,
The Motions,
Al Stewart,
Aural Exciters,
Franke,
Heavy D & The Boyz,
Simply Red,
The Count Five,
The Modern Lovers,
Country Teasers,
Bronski Beat,
Fluxion,
Second Layer,
Judy Mowatt,
The Young Rascals,
Eyeless In Gaza,
Sun Ra Arkestra,
Brass Construction,
Newcleus,
World's Most,
The Mighty Diamonds,
Manfred Mann's Earth Band,
the Germs,
Terrestrial Tones,
Swell Maps,
Joe Smooth,
The Human League,
The Music Machine,
Scion,
The Slackers,
Jeru the Damaja,
Suburban Knight,
Andrew Ashong & Theo Parrish,
Sandy B,
Technova,
The Offenders,
Eli Mardock,
Marmalade,
Super Lover Cee & Casanova Rud,
Ultramagnetic MC's,
Pantaleimon,
Aaron Thompson,
June of 44,
London Community Gospel Choir,
Archie Shepp,
Deakin,
Pere Ubu,
The Smiths,
Underground Resistance,
Alton Ellis,
Reuben Wilson,
Fifty Foot Hose,
Avey Tare's Slasher Flicks,
Brothers Johnson, Brothers Johnson, Brothers Johnson, Brothers Johnson.
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.