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 Uzbekistan and from Edmonton.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Mexico City and Mexico City.
I'm losing my edge to the art-school Mexico City 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 sitar 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 Pharoah Sanders to the funk 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 Japan. All the underground hits.
All The Gap Band tracks. I heard you have a vinyl of every Inner City record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marshall Jefferson,
Fifty Foot Hose,
Easy Going,
Pussy Galore,
The Moody Blues,
Nas,
Gil Scott-Heron & Brian Jackson,
Kaleidoscope,
Peter & Gordon,
Gichy Dan,
Pete Rock & C.L. Smooth,
T. Rex,
Soul Sonic Force,
Kerri Chandler,
Radiopuhelimet,
Eric Copeland,
The Standells,
Kas Product,
Wasted Youth,
Sunsets and Hearts,
Mo-Dettes,
Howard Jones,
The Five Americans,
Pere Ubu,
Shuggie Otis,
Girls At Our Best!,
The Dead C,
The Index,
Sixth Finger,
The Stooges,
Kings Of Tomorrow,
Bronski Beat,
Carl Craig,
Pulsallama,
the Swans,
Popol Vuh,
Bill Wells,
Terrestrial Tones,
Bush Tetras,
The Durutti Column,
Sexual Harrassment,
Eden Ahbez,
Chris Corsano,
Marc Almond,
Fugazi,
Strawberry Alarm Clock,
Kurtis Blow,
Thee Headcoats,
Anakelly,
Ludus,
Connie Case,
Slave,
Dennis Brown,
The Mighty Diamonds,
ABBA,
Fear,
a-ha,
Warsaw,
Circle Jerks,
Dawn Penn,
The Invisible,
Kerrie Biddell, Kerrie Biddell, Kerrie Biddell, Kerrie Biddell.
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.