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 Mozambique 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 1965 to 1975.
I'm losing my edge.
To all the kids in Portland and Accra.
I'm losing my edge to the art-school Taipei 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 808 sounds with much patience.
I was there when Holger Czukay 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 Ossler to the techno 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 Bob Dylan. All the underground hits.
All Severed Heads tracks. I heard you have a vinyl of every Orchestral Manoeuvres in the Dark record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Joyce Sims record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kango’s Stein Massive,
Easy Going,
Animal Collective,
Rakim,
Malaria!,
Oneida,
Tom Boy,
Tropical Tobacco,
Electric Light Orchestra,
The Smiths,
L. Decosne,
Stereo Dub,
Public Image Ltd.,
Wighnomy Brothers & Robag Wruhme,
Chris & Cosey,
The Monks,
Eric Dolphy,
Chris Corsano,
Moebius,
Letta Mbulu,
Kool G Rap & DJ Polo,
Intrusion,
Barbara Tucker,
Mantronix,
Bauhaus,
Kings Of Tomorrow,
Niagra,
The Cosmic Jokers,
the Slits,
The Saints,
Warsaw,
Funky Four + One,
F. McDonald,
Black Moon,
The Mighty Diamonds,
Popol Vuh,
Eurythmics,
Eli Mardock,
Roy Ayers Ubiquity,
Nirvana,
Yaz,
Flipper,
Echo & the Bunnymen,
Brothers Johnson,
Reuben Wilson,
Metal Thangz,
Ultravox,
The Raincoats,
Jeru the Damaja,
Gian Franco Pienzio,
The Pretty Things,
The Last Poets,
Ajijia Myrayebe,
James Chance & The Contortions,
The Leaves,
The Peanut Butter Conspiracy,
Curtis Mayfield,
Electric Prunes,
Black Sheep,
Scott Walker, Scott Walker, Scott Walker, Scott Walker.
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.