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 Cambodia and from Jakarta.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Beijing and Calgary.
I'm losing my edge to the art-school New York 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 spring reverb 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 the Human League to the funk 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 Bronski Beat. All the underground hits.
All Dawn Penn tracks. I heard you have a vinyl of every Traffic Nightmare 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 '80s.
I hear you're buying a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Chrome record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Red Krayola,
Cabaret Voltaire,
Joe Finger,
Glenn Branca,
Boredoms,
Grandmaster Flash and the Furious Five,
The Shadows of Knight,
Camberwell Now,
One Last Wish,
The Doobie Brothers,
Youth Brigade,
The Gap Band,
Chris & Cosey,
Sonny Sharrock,
Sam Rivers,
Bill Near,
James White and The Blacks,
Fluxion,
Los Fastidios,
Fort Wilson Riot,
Jeru the Damaja,
Mr. Review,
Flipper,
Rowland S Howard / Lydia Lunch,
The Sisters of Mercy,
Brothers Johnson,
Dennis Brown,
Crime,
The Moody Blues,
Sticky Fingaz feat. Raekwon,
Negative Approach,
The Black Dice,
ABC,
Nas,
Nick Fraelich,
Ash Ra Tempel,
The Birthday Party,
The Modern Lovers,
Interpol,
Black Pus,
LL Cool J,
De La Soul & Jungle Brothers,
Faust,
Second Layer,
Juan Atkins,
Eric Dolphy,
Prince Buster,
Ultra Naté,
John Lydon,
In Retrospect,
Colin Newman,
Roxette,
Avey Tare & Kría Brekkan,
Con Funk Shun,
The Standells,
The Mojo Men,
Idris Muhammad,
Scan 7,
Spandau Ballet,
Ultramagnetic MC's,
Sarah Menescal, Sarah Menescal, Sarah Menescal, Sarah Menescal.
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.