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 Sri Lanka and from Woodstock.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Lyon and Halifax.
I'm losing my edge to the art-school Seoul 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 marimba 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 Joy Division to the electroclash kids.
I played it at the 40 Watt.
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 Ice-T. All the underground hits.
All Public Image Ltd. tracks. I heard you have a vinyl of every Robert Wyatt 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 '60s cut and another box set from the '70s.
I hear you're buying an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Black Moon record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moleskins,
The Golliwogs,
Crime,
The Moody Blues,
The Saints,
Mary Jane Girls,
Gichy Dan,
Rod Modell,
Kayak,
This Heat,
Crooked Eye,
June of 44,
Joe Smooth,
Bootsy's Rubber Band,
Matthew Halsall,
Kool G Rap & DJ Polo,
the Germs,
Gary Puckett & The Union Gap,
Reagan Youth,
Godley & Creme,
Glambeats Corp.,
Toni Rubio,
the Soft Cell,
Sonny Sharrock,
The American Breed,
Marmalade,
Cecil Taylor,
Section 25,
The Wake,
Soul II Soul,
Delon & Dalcan,
the Normal,
Kool Moe Dee,
Nils Olav,
Glenn Branca,
Sarah Menescal,
Rites of Spring,
Audionom,
Nico,
Sister Nancy,
JFA,
Y Pants,
The Searchers,
Royal Trux,
Flash Fearless,
8 Eyed Spy,
Circle Jerks,
Cybotron,
The Blues Magoos,
Liaisons Dangereuses,
Con Funk Shun,
Harmonia,
Boogie Down Productions,
Babytalk,
Mad Mike,
Masters at Work,
Bronski Beat,
Tom Boy,
Al Stewart,
Aural Exciters,
Simply Red,
Delta 5,
Anthony Braxton,
Ohio Players, Ohio Players, Ohio Players, Ohio Players.
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.