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 Norway and from Spokane.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Tehran and Taipei.
I'm losing my edge to the art-school Philadelphia 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the rhodes 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 Harmonia to the punk 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 Sandy B. All the underground hits.
All Soft Cell tracks. I heard you have a vinyl of every Rufus Thomas record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Blues Magoos record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Big Daddy Kane,
The Selecter,
The Remains,
Matthew Bourne,
X-101,
Cecil Taylor,
Laurel Aitken,
Bad Manners,
Moebius,
Aaron Thompson,
Aloha Tigers,
Infiniti,
Crime,
Idris Muhammad,
Judy Mowatt,
Vladislav Delay,
Guru Guru,
Sugar Minott,
Agent Orange,
Inner City,
Lee Hazlewood,
Gang Green,
The Doors,
DJ Sneak,
Eden Ahbez,
Qualms,
Slave,
Supertramp,
Fat Boys,
Alton Ellis,
Outsiders,
Japan,
The Moody Blues,
The West Coast Pop Art Experimental Band,
The Human League,
Pierre Henry,
The Smoke,
Warren Ellis,
Sunsets and Hearts,
the Swans,
Chris Corsano,
Basic Channel,
Excepter,
Derrick Morgan,
Ken Boothe,
Visage,
The Sound,
Arthur Verocai,
kango's stein massive,
Underground Resistance,
Peter Gordon & Love of Life Orchestra,
Janne Schatter,
Tomorrow,
Loose Ends,
Morten Harket,
The Kinks,
Sun Ra,
The Dirtbombs,
Sly & The Family Stone,
Los Fastidios,
Harry Pussy,
Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish.
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.