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 Italy and from Stockholm.
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 1972.
I'm losing my edge.
To all the kids in Calgary and Philadelphia.
I'm losing my edge to the art-school Toronto 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 1984 at the first Arcadia practice in a loft in London.
I was working on the synthesizer sounds with much patience.
I was there when Lou Reed 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 Morten Harket to the crunk 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 Althea and Donna. All the underground hits.
All Joyce Sims tracks. I heard you have a vinyl of every Judy Mowatt record on German import.
I heard that you have a white label of every seminal dance 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 a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Warsaw record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Super Lover Cee & Casanova Rud,
Boogie Down Productions,
The J.B.'s,
Visage,
Yellowson,
Buzzcocks,
The Victims,
Unrelated Segments,
Ultra Naté,
Amon Düül II,
Jesper Dahlbäck,
KRS-One,
U.S. Maple,
The Cowsills,
This Heat,
F. McDonald,
Bootsy's Rubber Band,
Blake Baxter,
Echospace,
Erykah Badu,
Delon & Dalcan,
Heaven 17,
Minutemen,
The Monochrome Set,
The Cramps,
Mark Hollis,
Alice Coltrane,
Scrapy,
Gichy Dan,
Mo-Dettes,
Johnny Osbourne,
Bronski Beat,
Teenage Jesus and the Jerks,
Orchestral Manoeuvres in the Dark,
ABBA,
Neil Young,
Josef K,
Jacques Brel,
Main Source,
Animal Collective,
Minor Threat,
The Evens,
Nirvana,
The Toasters,
Letta Mbulu,
The Saints,
K-Klass,
Underground Resistance,
Idris Muhammad,
Roxy Music,
Camouflage,
The Beau Brummels,
Crash Course in Science,
Can,
the Association,
Ken Boothe,
Hot Snakes,
Henry Cow,
Tropical Tobacco,
Chris Corsano,
Roxette,
Flipper,
Pole,
The Electric Prunes, The Electric Prunes, The Electric Prunes, The Electric Prunes.
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.