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 Uganda and from Edmonton.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Manila and Calgary.
I'm losing my edge to the art-school Lagos 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the synthesizer 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 Liliput to the techno 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 MDC. All the underground hits.
All L. Decosne tracks. I heard you have a vinyl of every The Real Kids record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a James White and The Blacks record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Teenage Jesus and the Jerks,
Minny Pops,
Gang Starr,
Kerri Chandler,
Joe Smooth,
The Doobie Brothers,
Lou Reed & Metallica,
John Holt,
Lou Reed,
Manfred Mann's Earth Band,
The Real Kids,
DJ Style,
The Walker Brothers,
Con Funk Shun,
Qualms,
The Litter,
Sparks,
Masters at Work,
Oneida,
Tim Buckley,
Ohio Players,
Nik Kershaw,
Magazine,
The Pop Group,
Pharaoh Sanders and the Fire Engines,
Scrapy,
Matthew Halsall,
Sun Ra Arkestra,
Josef K,
Dave Gahan,
Joyce Sims,
Chris & Cosey,
Cabaret Voltaire,
Amon Düül II,
Los Fastidios,
The Black Dice,
Kauko Röyhkä ja Narttu,
Stetsasonic,
Lizzy Mercier Descloux,
Tres Demented,
X-Ray Spex,
The Shadows of Knight,
Eric Copeland,
Country Teasers,
Avey Tare & Kría Brekkan,
CMW,
UT,
Harry Pussy,
The Flesh Eaters,
Little Man,
Wolf Eyes,
Procol Harum,
Warsaw,
De La Soul & Jungle Brothers,
Donny Hathaway,
Ajijia Myrayebe,
Saccharine Trust,
Metal Thangz,
Marshall Jefferson, Marshall Jefferson, Marshall Jefferson, Marshall Jefferson.
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.