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 Latvia and from Bremen.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1973.
I'm losing my edge.
To all the kids in Glasgow and Edmonton.
I'm losing my edge to the art-school Sao Paulo 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 mellotron 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 New Order to the funk kids.
I played it at CBGB's.
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 Louis and Bebe Barron. All the underground hits.
All Alison Limerick tracks. I heard you have a vinyl of every The Move 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 '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Ultramagnetic MC's record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monks,
Lakeside,
Rod Modell,
Lower 48,
Connie Case,
Easy Going,
Fugazi,
the Fania All-Stars,
Pet Shop Boys,
The Vogues,
Ossler,
Saccharine Trust,
The Real Kids,
Donny Hathaway,
David McCallum,
Tears for Fears,
Gil Scott Heron,
The Golliwogs,
Country Teasers,
New York Dolls,
DJ Style,
Kool Moe Dee,
China Crisis,
Cluster,
The Motions,
Sun City Girls,
Terrestrial Tones,
Sandy B,
The Modern Lovers,
Quando Quango,
Strawberry Alarm Clock,
Howard Jones,
ABBA,
The Happenings,
Electric Prunes,
Marine Girls,
The Jesus and Mary Chain,
The J.B.'s,
Joey Negro,
Eddi Front,
FM Einheit,
Toni Rubio,
Echo & the Bunnymen,
Reuben Wilson,
Ken Boothe,
Electric Light Orchestra,
Josef K,
The Fuzztones,
Sad Lovers and Giants,
The Techniques,
The Associates,
Bill Wells,
Public Enemy,
Louis and Bebe Barron,
Nation of Ulysses,
Boogie Down Productions,
Rapeman,
Fifty Foot Hose,
Dennis Brown,
June of 44,
Sam Rivers,
Moebius, Moebius, Moebius, Moebius.
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.