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 Haiti and from Toronto.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Woodstock and Hong Kong.
I'm losing my edge to the art-school Paris 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the snare 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 Quando Quango to the electroclash 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 Cymande. All the underground hits.
All L. Decosne tracks. I heard you have a vinyl of every Sly & The Family Stone record on German import.
I heard that you have a white label of every seminal funk 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 güiro and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Soft Cell record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Guru Guru,
Massinfluence,
Fad Gadget,
Wings,
The Dirtbombs,
Marc Romboy vs. Booka Shade,
Lindisfarne,
Mark Hollis,
Donny Hathaway,
Bobby Byrd,
Wire,
Robert Görl,
Von Mondo,
The Moleskins,
The Martian,
Susan Cadogan,
Make Up,
Camberwell Now,
Severed Heads,
Johnny Osbourne,
June of 44,
Nils Olav,
Kool G Rap & DJ Polo,
Underground Resistance,
The Flesh Eaters,
Black Pus,
The Golliwogs,
The Wake,
World's Most,
Notorious Big And Bone Thugs,
Sister Nancy,
Television Personalities,
Depeche Mode,
A Flock of Seagulls,
Audionom,
Tom Boy,
Iggy Pop,
Niagra,
The Cure,
Drive Like Jehu,
The Gap Band,
The Associates,
Lou Reed,
Sandy B,
Animal Collective,
Stereo Dub,
Rotary Connection,
The Detroit Cobras,
Peter Gordon & Love of Life Orchestra,
The J.B.'s,
Brick,
Henry Cow,
Sonic Youth,
Pierre Henry,
The Real Kids,
Rites of Spring,
Roger Hodgson,
Ronan,
Neil Young,
Teenage Jesus and the Jerks,
Mary Jane Girls,
The Sound, The Sound, The Sound, The Sound.
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.