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 Micronesia and from Hong Kong.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Tokyo and Houston.
I'm losing my edge to the art-school Hong Kong 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 snare 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 John Foxx to the funk kids.
I played it at the 40 Watt.
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 Marc Romboy vs. Booka Shade. All the underground hits.
All Neil Young tracks. I heard you have a vinyl of every China Crisis record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a A Certain Ratio record.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stetsasonic,
Outsiders,
Theoretical Girls,
Slave,
Popol Vuh,
Davy DMX,
Underground Resistance,
Thompson Twins,
Mars,
Glambeats Corp.,
Funkadelic,
The Gap Band,
Prince Buster,
Donny Hathaway,
Monolake,
Gang Gang Dance,
Bob Dylan,
Jacob Miller,
Lafayette Afro Rock Band,
The Move,
Richard Hell and the Voidoids,
Marc Almond,
Mark Hollis,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Divine Comedy,
Metal Thangz,
Grauzone,
Rufus Thomas,
The Motions,
Mr. Review,
Oneida,
Pole,
The Toasters,
Deutsch Amerikanische Freundschaft,
Mantronix,
The Monks,
Black Moon,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Electric Light Orchestra,
The Detroit Cobras,
Depeche Mode,
Ohio Players,
Q65,
Gary Puckett & The Union Gap,
Jeru the Damaja,
Camberwell Now,
The Five Americans,
David McCallum,
Saccharine Trust,
Graham Central Station,
The Offenders,
Bootsy Collins,
Monks,
Bill Wells,
Sandy B,
Bootsy's Rubber Band,
Sparks,
Magma,
F. McDonald,
Magazine, Magazine, Magazine, Magazine.
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.