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 Slovakia and from Mexico City.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Mumbai and Tokyo.
I'm losing my edge to the art-school London 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 1976 at the first Wire practice in a loft in Watford.
I was working on the rhodes 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 The Star Department to the rap kids.
I played it at CBGB's.
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 Terry Callier. All the underground hits.
All Alice Coltrane tracks. I heard you have a vinyl of every Monolake record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Human League,
DNA,
Dave Gahan,
Skriet,
Drexciya,
X-102,
Can,
The Victims,
These Immortal Souls,
Crime,
Be Bop Deluxe,
Barbara Tucker,
Television,
The Real Kids,
Tropical Tobacco,
Duran Duran,
The Young Rascals,
Tubeway Army,
Radio Birdman,
Erykah Badu,
Roger Hodgson,
Alice Coltrane,
Niagra,
Nirvana,
Essential Logic,
Sparks,
Slick Rick,
Sonny Sharrock,
10cc,
Mantronix,
The Cowsills,
Marine Girls,
The Litter,
the Soft Cell,
A Certain Ratio,
The New Christs,
Public Image Ltd.,
The Walker Brothers,
Heavy D & The Boyz,
R.M.O.,
Neu!,
The Slackers,
Matthew Bourne,
Deutsch Amerikanische Freundschaft,
Blancmange,
Sun Ra Arkestra,
Gil Scott Heron,
Avey Tare,
L. Decosne,
Reuben Wilson,
Q and Not U,
Aaron Thompson,
Deepchord,
The Flesh Eaters,
David Axelrod,
Porter Ricks,
Fat Boys,
Simply Red,
Franke,
Amon Düül II,
Kerri Chandler,
Rhythim Is Rhythim,
Mad Mike,
Soul II Soul,
Animal Collective, Animal Collective, Animal Collective, Animal Collective.
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.