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 Paraguay and from Spokane.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1978.
I'm losing my edge.
To all the kids in Halifax and Bremen.
I'm losing my edge to the art-school Halifax 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 808 sounds with much patience.
I was there when David Bowie 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 James Chance & The Contortions to the grime kids.
I played it at the Spitz.
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 Camberwell Now. All the underground hits.
All Lalo Schifrin tracks. I heard you have a vinyl of every the Human League 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 '70s cut and another box set from the '70s.
I hear you're buying a 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Patti Smith record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Freddie Wadling,
Sonny Sharrock,
Matthew Halsall,
Dual Sessions,
Nik Kershaw,
Jesper Dahlbäck,
Vladislav Delay,
Jeff Lynne,
H. Thieme,
Ten City,
the Normal,
Pete Rock & C.L. Smooth,
Young Marble Giants,
Amon Düül II,
Essential Logic,
Kas Product,
Symarip,
Hashim,
The Royal Family And The Poor,
UT,
Soft Machine,
Althea and Donna,
Visage,
Maleditus Sound,
John Holt,
Peter Gordon & Love of Life Orchestra,
Alison Limerick,
The Detroit Cobras,
Rapeman,
Rosa Yemen,
Amazonics,
Manfred Mann's Earth Band,
Bluetip,
Agent Orange,
Strawberry Alarm Clock,
The Busters,
Can,
Bush Tetras,
Cheater Slicks,
Moebius,
Pierre Henry,
Letta Mbulu,
Quadrant,
Dorothy Ashby,
Crash Course in Science,
Joey Negro,
Kool Moe Dee,
Fela Kuti,
Girls At Our Best!,
Negative Approach,
Al Stewart,
The Velvet Underground,
Chris & Cosey,
The Tremeloes,
Au Pairs,
Ponytail,
Sonic Youth,
Bobby Hutcherson,
Swell Maps,
T.S.O.L.,
Scott Walker,
Lou Reed,
Loose Ends,
A Flock of Seagulls, A Flock of Seagulls, A Flock of Seagulls, A Flock of Seagulls.
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.