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 Spain and from Paris.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Woodstock and Bologna.
I'm losing my edge to the art-school Hong Kong 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the 808 sounds with much patience.
I was there when Robert Palmer 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 Godley & Creme to the grunge 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 Make Up. All the underground hits.
All Jesper Dahlbäck tracks. I heard you have a vinyl of every Danielle Patucci 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 '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Chrome record.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Machine,
Ponytail,
Crash Course in Science,
Youth Brigade,
Scientists,
These Immortal Souls,
Cymande,
Sun Ra Arkestra,
The Detroit Cobras,
Johnny Clarke,
Cabaret Voltaire,
The Sisters of Mercy,
The Real Kids,
Strawberry Alarm Clock,
Skriet,
Brass Construction,
John Cale,
Davy DMX,
Ohio Players,
Can,
Q and Not U,
Sad Lovers and Giants,
The Walker Brothers,
Hardrive,
Faraquet,
Richard Hell and the Voidoids,
Glenn Branca,
Funky Four + One,
Marcia Griffiths,
Captain Beefheart & His Magic Band,
Rahsaan Roland Kirk,
Mad Mike,
John Lydon,
Jeff Lynne,
Swell Maps,
Saccharine Trust,
cv313,
Flipper,
Dead Boys,
Harmonia,
Negative Approach,
ABC,
Red Lorry Yellow Lorry,
La Düsseldorf,
Kevin Saunderson,
Todd Terry,
Juan Atkins,
Basic Channel,
The Fortunes,
DJ Sneak,
Black Pus,
JFA,
The Fall,
Joe Finger,
Gian Franco Pienzio,
Kerri Chandler,
Oppenheimer Analysis,
Stiv Bators,
Black Sheep,
Andrew Hill,
Vladislav Delay,
The Misunderstood,
Tubeway Army,
UT, UT, UT, UT.
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.