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 Samoa and from Glasgow.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Cairo.
I'm losing my edge to the art-school Beijing 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 808 sounds with much patience.
I was there when Robert Palmer 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 Michelle Simonal to the electroclash kids.
I played it at the Hacienda.
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 the Human League. All the underground hits.
All Main Source tracks. I heard you have a vinyl of every Bobby Womack 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 '80s.
I hear you're buying a rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Mighty Diamonds record.
I hear that you and your band have sold your marimba and bought an oboe.
I hear that you and your band have sold your oboe and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ossler,
Clear Light,
Sonic Youth,
Super Lover Cee & Casanova Rud,
Masters at Work,
Smog,
Delta 5,
This Heat,
Subhumans,
The Pretty Things,
Black Sheep,
Don Cherry,
Barclay James Harvest,
Half Japanese,
Gang Gang Dance,
Second Layer,
Josef K,
Deutsch Amerikanische Freundschaft,
Rakim,
AZ,
Funky Four + One,
John Coltrane,
Yusef Lateef,
Yazoo,
The Jesus and Mary Chain,
Lou Reed & John Cale,
Danielle Patucci,
The Music Machine,
Faraquet,
Barbara Tucker,
Franke,
New Order,
Royal Trux,
Graham Central Station,
Joyce Sims,
Eric Copeland,
Art Ensemble Of Chicago,
Can,
The Toasters,
Jacques Brel,
The Seeds,
Bauhaus,
Deadbeat,
Arthur Verocai,
Janne Schatter,
Flamin' Groovies,
The Peanut Butter Conspiracy,
David Axelrod,
Amon Düül,
The Five Americans,
Camberwell Now,
Junior Murvin,
La Düsseldorf,
Joey Negro,
The Invisible,
The Busters,
cv313,
The Techniques,
Eurythmics,
Rapeman, Rapeman, Rapeman, Rapeman.
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.