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 El Salvador and from Salvador.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Johannesburg and Seoul.
I'm losing my edge to the art-school Woodstock 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 clarinet sounds with much patience.
I was there when Michael McDonald 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 James White and The Blacks to the rock kids.
I played it at the Troubador.
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 Graham Central Station. All the underground hits.
All Boredoms tracks. I heard you have a vinyl of every The Slits 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 '70s cut and another box set from the '80s.
I hear you're buying a clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sisters of Mercy,
Ultramagnetic MC's,
Todd Terry,
Wasted Youth,
Piero Umiliani,
Brick,
Reagan Youth,
Susan Cadogan,
JFA,
The Techniques,
Pylon,
Au Pairs,
Aaron Thompson,
Essential Logic,
Throbbing Gristle,
Byron Stingily,
Gichy Dan,
Animal Collective,
Bobby Byrd,
The Human League,
Ultravox,
The Gap Band,
Surgeon,
Gang of Four,
Chris & Cosey,
Kas Product,
Traffic Nightmare,
Newcleus,
Ralphi Rosario,
Judy Mowatt,
Ossler,
Subhumans,
Ten City,
Skaos,
Josef K,
Idris Muhammad,
June Days,
Gil Scott-Heron and Jamie xx,
Kerrie Biddell,
Pet Shop Boys,
The Wake,
Radiopuhelimet,
Von Mondo,
Colin Newman,
Ultra Naté,
Rhythm & Sound,
kango's stein massive,
The Cure,
Fifty Foot Hose,
Jeru the Damaja,
Second Layer,
Sister Nancy,
Marmalade,
Lebanon Hanover,
Freddie Wadling,
Roxette,
Big Daddy Kane,
Faust,
The Smoke,
the Sonics,
The Fortunes,
Arab on Radar,
Bush Tetras,
The Neon Judgement,
Tropical Tobacco, Tropical Tobacco, Tropical Tobacco, Tropical Tobacco.
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.