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 Liechtenstein and from Glasgow.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Mumbai and Shanghai.
I'm losing my edge to the art-school Toronto 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 1984 at the first Arcadia practice in a loft in London.
I was working on the rhodes sounds with much patience.
I was there when Nile Rodgers 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 Grauzone to the rap 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 Pantaleimon. All the underground hits.
All Livin' Joy tracks. I heard you have a vinyl of every Electric Light Orchestra record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Stiv Bators record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fifty Foot Hose,
Nico,
Severed Heads,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Flash Fearless,
Mandrill,
Rekid,
Bootsy's Rubber Band,
Ken Boothe,
8 Eyed Spy,
Tomorrow,
Joe Finger,
Essential Logic,
Laurel Aitken,
Tom Boy,
Pantytec,
Babytalk,
Model 500,
Prince Buster,
Gang Gang Dance,
Sight & Sound,
Sonny Sharrock,
Roy Ayers,
Warsaw,
The Slits,
Thee Headcoats,
Curtis Mayfield,
The Barracudas,
Slick Rick,
Rahsaan Roland Kirk,
Angry Samoans,
Saccharine Trust,
The Victims,
Pole,
Ludus,
Zapp,
Dual Sessions,
Groovy Waters,
Tommy Roe,
Morten Harket,
Erasure,
The Music Machine,
F. McDonald,
Rod Modell,
Absolute Body Control,
The Electric Prunes,
Deadbeat,
The Happenings,
The Detroit Cobras,
Aloha Tigers,
The Angels of Light,
The Men They Couldn't Hang,
Massinfluence,
The Martian,
The Associates,
The Slackers,
Howard Jones,
Supertramp,
Shuggie Otis,
Gabor Szabo,
Dave Gahan, Dave Gahan, Dave Gahan, Dave Gahan.
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.