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 Argentina and from Tehran.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1971.
I'm losing my edge.
To all the kids in Accra and Manchester.
I'm losing my edge to the art-school Halifax 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 güiro sounds with much patience.
I was there when Tom Verlaine 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 Morten Harket to the funk kids.
I played it at the Roxy.
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 Nation of Ulysses. All the underground hits.
All New Age Steppers tracks. I heard you have a vinyl of every Sound Behaviour record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Human League record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Suburban Knight,
Crime,
Easy Going,
The Cosmic Jokers,
Freddie Wadling,
Flipper,
The Invisible,
Drexciya,
Hoover,
Alphaville,
Lungfish,
the Human League,
Metal Thangz,
Minnie Riperton,
The Music Machine,
John Lydon,
Boogie Down Productions,
Symarip,
The Golliwogs,
Beasts of Bourbon,
Stiv Bators,
cv313,
Patti Smith,
Colin Newman,
Essential Logic,
Lou Reed & Metallica,
Supertramp,
Robert Görl,
Anthony Braxton,
Severed Heads,
Roxette,
The Walker Brothers,
Terrestrial Tones,
the Germs,
Black Flag,
Lou Christie,
The Monochrome Set,
David McCallum,
Q65,
Strawberry Alarm Clock,
Slave,
Moby Grape,
Jimmy McGriff,
Absolute Body Control,
Joe Finger,
Porter Ricks,
Bang On A Can,
Flash Fearless,
Jeru the Damaja,
Wasted Youth,
Amon Düül,
Lindisfarne,
Selector Dub Narcotic,
Echospace,
The West Coast Pop Art Experimental Band,
The Shadows of Knight,
David Axelrod,
Susan Cadogan,
John Coltrane,
Nik Kershaw,
Todd Rundgren,
Duran Duran,
The Vogues,
Au Pairs, Au Pairs, Au Pairs, Au Pairs.
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.