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 Guinea and from Toronto.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1977.
I'm losing my edge.
To all the kids in London and Shanghai.
I'm losing my edge to the art-school Mexico City 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 organ 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 Anakelly to the techno 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 Reuben Wilson. All the underground hits.
All One Last Wish tracks. I heard you have a vinyl of every Jeru the Damaja 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 '70s.
I hear you're buying a theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Siouxsie and the Banshees record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Moon,
The Cure,
Black Bananas,
Be Bop Deluxe,
Bush Tetras,
Alphaville,
Röyhkä ja Rättö ja Lehtisalo,
Peter and Kerry,
Mark Hollis,
Mission of Burma,
DJ Style,
Fela Kuti,
Buzzcocks,
Godley & Creme,
The Vogues,
Easy Going,
Roy Ayers,
Masters at Work,
Lyres,
Traffic Nightmare,
Tres Demented,
Angry Samoans,
Steve Hackett,
U.S. Maple,
Index,
Wolf Eyes,
Beasts of Bourbon,
Susan Cadogan,
Kayak,
Eden Ahbez,
Gong,
Fifty Foot Hose,
Panda Bear,
Camberwell Now,
Dave Gahan,
Letta Mbulu,
The Flesh Eaters,
Grandmaster Flash and the Furious Five,
Marc Romboy vs. Booka Shade,
New Order,
Country Joe & The Fish,
Ultra Naté,
Los Fastidios,
the Swans,
The New Christs,
Isaac Hayes,
Delon & Dalcan,
MC5,
The Gories,
The Human League,
Funkadelic,
Hardrive,
Tom Boy,
The Alarm Clocks,
Swell Maps,
Erasure,
Bobby Hutcherson,
Cheater Slicks,
Visage,
Cybotron,
Camron Feat. Memphis Bleek And Beenie Seigel,
Q65,
Lalann,
Jeff Mills, Jeff Mills, Jeff Mills, Jeff Mills.
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.