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 Benin and from Columbus.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Bremen and Edmonton.
I'm losing my edge to the art-school Cairo 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 linndrum 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 Skarface to the techno kids.
I played it at the Crocodile.
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 Boogie Down Productions. All the underground hits.
All Cheater Slicks tracks. I heard you have a vinyl of every Banda Bassotti 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 '50s cut and another box set from the '70s.
I hear you're buying an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Dawn Penn record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Siouxsie and the Banshees,
PIL,
Sugar Minott,
Sun City Girls,
Lou Reed & John Cale,
JFA,
James Chance & The Contortions,
Ponytail,
The Last Poets,
Harry Pussy,
The Vogues,
Marcia Griffiths,
Bobbi Humphrey,
Basic Channel,
The Shadows of Knight,
Lungfish,
Harpers Bizarre,
Excepter,
Robert Hood,
Funky Four + One,
Reuben Wilson,
David Axelrod,
Girls At Our Best!,
Ajijia Myrayebe,
Young Marble Giants,
Lakeside,
The Sound,
Red Lorry Yellow Lorry,
Bad Manners,
Grandmaster Flash and the Furious Five,
The Motions,
Flipper,
Chris & Cosey,
Skriet,
the Bar-Kays,
Gong,
Vainqueur,
Crash Course in Science,
A Flock of Seagulls,
Rakim,
John Lydon,
Robert Görl,
Don Cherry,
The Count Five,
The Moody Blues,
London Community Gospel Choir,
Erasure,
Smog,
DNA,
Colin Newman,
Joensuu 1685,
LL Cool J,
Strawberry Alarm Clock,
Marc Romboy vs. Booka Shade,
Rapeman,
Monks,
Brothers Johnson,
Electric Light Orchestra,
Angels of Light & Akron/Family,
Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band.
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.