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 Bangladesh and from Portland.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Paris and Calgary.
I'm losing my edge to the art-school London 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the synthesizer sounds with much patience.
I was there when Captain Beefheart 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 Altered Images to the techno kids.
I played it at the Spitz.
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 Half Japanese. All the underground hits.
All Eric Copeland tracks. I heard you have a vinyl of every Joy Division 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 '50s cut and another box set from the '90s.
I hear you're buying a guitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Brothers Johnson record.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Birthday Party,
Pole,
Arcadia,
Nick Fraelich,
Average White Band,
Unwound,
Drexciya,
Rowland S Howard / Lydia Lunch,
The Busters,
the Association,
Be Bop Deluxe,
Letta Mbulu,
Matthew Halsall,
Bizarre Inc.,
Roy Ayers Ubiquity,
Echo & the Bunnymen,
Severed Heads,
The Durutti Column,
Outsiders,
Minnie Riperton,
The Five Americans,
Curtis Mayfield,
Danielle Patucci,
Zapp,
Rhythm & Sound,
Los Fastidios,
Crispy Ambulance,
Sex Pistols,
Fear,
Arthur Verocai,
Rufus Thomas,
Laurel Aitken,
Camouflage,
Suburban Knight,
Eric Copeland,
Bootsy Collins,
Dorothy Ashby,
Major Organ And The Adding Machine,
Kauko Röyhkä ja Narttu,
Ultravox,
Sugar Minott,
The Cramps,
The Shadows of Knight,
Spandau Ballet,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Ohio Players,
Scott Walker,
Monolake,
Anakelly,
Kevin Saunderson,
Gabor Szabo,
Throbbing Gristle,
Eddi Front,
Eurythmics,
Bush Tetras,
Graham Central Station,
New York Dolls,
The Cowsills,
Warsaw,
Ralphi Rosario,
Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio.
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.